The depth of each of these women's individual experiences of similar trauma in the story is shown through their actions towards what they believe should be the solution to staying or leaving their attackers. Polley portrays all stages of grief she experienced from her own traumas through each woman rejecting, accepting, understanding, running, staying, and processing their experiences from the various women. Each shared similar traumas yet saw their experiences vastly different in a way we can understand where each woman is in their grief rather than focusing on the story itself; it is a memoir of Polleys journey through grief.
When art is created, I often ponder on whether it’s trying to copy reality, or alter it some way. Sexual assault seems like a topic to copy directly to not lose its gravity, but this seems to restrict it, for an approach of perceiving it as increasing evil from evil, then this naturalistic explanation covers many truths of people’s experiences with it, but not all. Yet, this experience isn’t the only one, for we can see how something even like realism’s free will fits into this, showing the weakness of perceiving this as a reality with one view, as if it’s either a copy or an alteration.
Having also experienced a very disabling trauma, it is interesting to learn that people have different way of coping with traumatic events, and therefore, would have had a completely different response if put through the same exact trauma. Avoidance method mentioned in the beginning of the video, along with being unable to escape the “gravity well” of the traumatic incidents, are the methods I am familiar with because I was never brought up in a society wherein working to confront your trauma is widely accepted.
When dealing with traumatic events such as what is displayed through Sarah Polley’s film, it is natural for a response to occur to help cope. Dark humor is one trauma repsonse that I think is more normalized. For myself, as a woman I have experienced what it feels to be harrassed and sexualized for simply walking or existing, and it coats you with such a gross blanket feeling that only other women know familiarly. So rather than react, I usually make a joke, out of fear for perhaps it getting physical if I respond and the desire not to show vunerability, so it is disguised. This is not a unique story, it is a story that is heard with different narratives throughout time. Polley’s film is no exception to this, she shows it well and touches every single woman because of the level of understanding put there. Although women may not like one another or themselves, one thing to be said is we can understand each other. The narrative shared through this film doesn’t hide the ugly truth but demonstrates it, which is comendable to say the least.
Sarah Polley’s Women Talking bring slight on to the different ways that people react to trauma. Some may bottle up their feelings, some get angry and lash out, so get very anxious, some may take on new addictions, and some may shut down completely. Yet in the end talking about it, is the best form of healing. Knowing you are not alone is crucial to getting to a place of understanding not just what happened but to talk and get out of your own head, and see beyond the incident.
What spoke to me the most from Sarah's writing was how many excuses she made during her struggle to decided to come forward. It is very eye opening how, even with multiple women recounting the same experience, Sarah considered every angle that would be tried to disprove her story. Almost as if trying to convince herself out of speaking up. I think this is incredibly important for other people who may have undergone the same trauma when finding their voice. Even if you consider every angle, what you know is the truth and that is what matters.
I appreciate your insight into Sarah's internal struggle, but I disagree with the assertion that she was merely convincing herself not to speak up. The phrase “What follows is an act of female imagination” creatively redeploys accusations of hysteria and unreliability historically directed at women. Sarah Polley’s use of bird’s-eye shots and high angles visually emphasizes the oppressive scrutiny Sarah anticipates. This is not Sarah convincing herself out of speaking up but rather highlighting the systemic doubt she must overcome. Polley’s cinematography underlines the crushing weight of societal disbelief, making Sarah’s eventual decision to speak all the more heroic and impactful.
Discussing sexual assault while encompassing different experiences and perspectives is very difficult. It is a sensitive topic which makes many intimidated to talk about it. Sara Polley masterfully tackles the subject In Women Talking by using elements of gothic romance, realistic drama, naturalistic tragedy, and a redemptively grotesque narrative. This ensures that all many different perspectives are represented. Each of the characters respond in different ways, including the three mentioned in the video. Melvin suppresses the memory, Ona turns to help other people who were also assaulted, and Salome wants to fight directly against the men.
Sarah Polley aptly tackles the concept of discussing sexual assault because of her personal history with it. She includes three narrative options to show how different women react to and understand this sensitive topic. I believe Polley shares these perspectives to reach and heal other women who have experienced sexual assault. Most victims suppress their emotions for various reasons, such as feeling powerless. This film encourages women to talk about these assaults and provides narrative options that real-life victims might be struggling with. It aims to validate any feelings victims have and encourage emotional expression around this sensitive topic.
In “Women Talking” we see their experience as portrayed in a short amount of time and as you discussed, they are dealing with the trauma by attacking it head-on. Their determination surprises me, the anger some of them feel, the injustice they so clearly outline. In my experience talking to survivors, their anger is different in that it's rooted in shame and blame on themselves, not the attacker. Their ancestors repressed their emotions for centuries as you described, but I think the way they are portrayed in dealing with it is very unique for their situation.
I disagree with the notion that the women didn’t put some blame on themselves. Ona first brings up this idea of the men being victims. The women then question if the men are guilty and the younger girls get upset and say how they caught them. Mariche is especially curious as she thinks about staying instead of leaving more than the rest. She has been taught all of her life to forgive so much that it has become permission. She still goes back with her husband though he is guilty and it’s because of lessons to forgive and that it’s not the men’s fault. She also chastises Mejal for having a panic attack and Mejal says the worst part was making them disbelieve in themselves.
When faced with a traumatic experience, I often acknowledge my emotional reflexes before attempting to cope by ‘logically’ analyzing the situation; however, this process often results in altering my perception of past experiences to fit convenient truths. Actions become justified by logic, reasons which are based on the assessment of facts, memories which are reordered by feelings; choices are never anything but emotional. How I choose to acknowledge my accountability for the story affects my behavior just as much as Sarah Polly’s choice in narrative styles affects the message of Women Talking.
I think that our own perceptions definitely shape the way we feel and react to trauma as our brains have the power to gloss over details or make them easier to cope with. I found this represented in the film through the lack of faces of the men who were doing the assaults. I feel this was a part of the coping mechanism to not give any power/screentime to the men, and rather focus on the women's emotional responses. It also makes the trauma faced by the women more universal and easily relatable, without a male subject with a background and description.
Salome and Janz's responses to their trauma mirrored that of women in my life who lived in similar circumstances. The woman I call Momma was failed by the mothers in her community, which sparked maternal rage in her. Like the confrontational Salome, Momma would kill for her children. Like the woman I call Grandma, Janz's faith and reality have trapped her in a toxic environment. She has been left behind by those she loves and she copes by burrowing deeper into her faith rather than acknowledging the pressures repelling her family from it. Following the redemptively grotesque narrative, while they discuss their rapists possible redemption, the deciding women face their own "jagged edges" and come to realize that their social framework has profoundly conditioned both themselves and the men. Salome acknowledges that her rage will turn to violence and agrees to leave. Janz is left behind to uphold the patriarchal system, lest she face eternal damnation. In the age of MeToo, Women Talking shows individuals, trapped in gender roles, liberating themselves from a patriarchal system by voicing their experiences.
Whether expressing passion for someone through one of the five love languages or trying to explain their experiences to someone who cannot relate to them, it is evident that people communicate in different ways. Utilizing different forms of storytelling to captivate a larger audience, Sarah Polley's Women Talking (2022) emphasizes this nuance of human experience. While sharing in their tragedy, the women's ensuing grief presents itself as aversion, anger, or anxiety. In addressing the ways people devalue certain reactions, like the supposedly attention seeking panic attacks, the film illustrates how even those who feel unheard critique those who are speaking.
I can relate to the dark humor approach, as I’m sure many others can. I think that if I were to respond to every harsh sexual comment yelled at me or every time a man gets far too touchy with an in depth reflection of the situation, I would not be able to handle all of my anger - and I have not dealt with anything nearly as terrible as what Sarah Polley went through. I think that the narrative approach to a traumatic event should be shaped by what will be the most beneficial to the person sharing it.
Although I agree that dark humor can indeed be one example of a coping mechanism for some individuals, I would argue that it is not universally normalized. In Sarah Polley’s film, it’s evident that despite the fact that the women of the colony relate to similar harassment, their coping mechanisms can be vastly different. In the film, Salome vehemently advocates for fighting back against the men. Her response is driven by her deep sense of betrayal and a strong desire for justice. A coping mechanism for her is through channeling her trauma into anger and action, showcasing a form of resistance that is far removed from humor. By focusing predominantly on humor, this statement might inadvertently marginalize women’s varying forms of expression and resistance.
Sarah Polley shares her story of the sexual assault that she went through and does so in a way that I have never heard before. She shares that one of her responses to the trauma that she endured was to forget and block details of the assault. She explains her whole thought process in a way that I think is very understandable and relatable. Polley really allows the reader to know what she was thinking and why she said or did the things that she did.
Sarah Polley's narrative, "The Woman Who Stayed Silent," lays bare the inner turmoil that survivors grapple with when deliberating whether to break their silence. The depth of complexities involved in this decision was previously beyond my grasp. Immersed in Sarah's story, I found myself beginning to feel conflicted as well, absorbing the diverse counsel she received from legal experts and friends alike. The daunting task of balancing her own and her children's safety while also wanting to stand in solidarity with fellow women is something I can hardly fathom. Sarah Polley's personal battle not only underscores her remarkable considerateness even in the aftermath of significant trauma but also illuminates the empathetic nature of other women who face similar dilemmas.
Sarah’s Polley experience resonated with me as well as many of the young generation when faced with trauma. We usually resort to using it as a “funny party story” like Polley, labeling it as “dark humor” that is beginning to be normalized in today’s society and brushing it under the rug instead of facing it head-on. Polley speaking up about her journey through different narrative styles can help shed the stigma about sexual assault and encourage women who have gone through similar cases to open up instead of staying silent.
This is very true, this generation has an odd way of handling conflicts and emotions. On one hand there are many of us who are trying to undo years of "sweeping it under the rug" but then there are those who still see this as un-serious or a laughing matter. We've come to the conclusion that having a dark sense of humor can even make us more interesting as people or start conversations. This ultimately takes away from the person and whatever they've experienced. This film shows that headstrong answers and opening up gets results.
Growing up with three males to one female, I was never exposed to the fear women of any age might have towards their male counterparts. Although now educated, it wasn't until watching Polley’s Women Talking that I was exposed to new perspectives. Your question at the end about gender relations provoked me to ask myself why the scenes with gore bothered me so much. While I previously deemed war movie gore as “cool” but necessary for portraying the harsh realities of war, Women Talking's scenes with gore, despite milder than Hacksaw Ridge (2016), proved more challenging to watch.
I would argue that Women Talking does not even depict that much gore; there are some pretty disturbing scenes, but they are typically showing the bloodied women after they have realized what has been done to them. There is not any violence depicted as it might be in, as you said, a war movie, however I believe that the women’s fear, anger, and vulnerability are why some scenes are exceptionally difficult to watch. Additionally, violence in war is horrific yet usually impersonal, while the women in this movie are not only being sexually attacked, which most women would agree is the most deeply violating act to be done to a person, but are also experiencing this betrayal from the men closest to them.
Sarah Polley's 'Women Talking' depicts women dealing with the shared traumatic experience of sexual assault/rape by the men of the colony. Throughout their argument about whether they should fight or flee, there are undertones of misogyny as well as many metaphors of the women as captive animals or slaves. Greta's loss of her teeth seems to imply she lost her voice when she was assaulted, and she now relates more to her horses, as an animal. Mariche often turns on the other women, claiming Ona is a whore for example. I watched the film with my roommate and we were enraged by Mariche who dismissed the experiences and coping mechanisms of the others, but I realized throughout the story that everyone has their own methods of processing and dealing with trauma. For Greta, metaphors about her horses allow her to process what has happened and to justify leaving and finding safety. Mejal copes with cigarettes and has panic attacks, which Mariche claims to be "attention seeking behaviors", while she is processing trauma in her own right, by protecting herself and her children as well as her prospects to get into Heaven by repeatedly forgiving Klaas. Looking deeper into Mariche's coping mechanism, I believe it relates to Luke 17:3-4. Mariche takes it very literally that she must forgive Klaas every time he harms her and her children because it is the Godly thing to do. Aside from this, it is no secret that relationships that have an abuser and a victim are usually very hard for the victim to leave, especially when it is not socially accepted to leave.
Polley includes multiple modes of literature in Women Talking, but the most important is the Grotesque. This mode allows for true pain and suffering. It also highlights the mental state of the women and their decisions. Some sought deeper meaning in their faith, some wanted revenge, some wished to run, and some didn’t know what to do at all. You never know how you will respond to trauma until it happens and then you still will need help figuring out why you responded that way. The Grotesque showcased how and why the women came to the decision they did.
While the Grotesque mode is significant in , its essence goes beyond simply showcasing their true pain or highlighting their want for revenge or escape. It delves into deep-rooted abuse that distorts the victims' perceptions of their abusers. The three states of the Grotesque, namely jagged edges, unsettling fall, and divine assist, are embodied in Salome's journey. Her jagged edges manifest in her anger and bitterness, lashing out at others. Her unsettling fall occurs when she returns to her abusive husband the night before they leave. The divine assist is reflected in the collective decision to leave, symbolizing a redemptive step towards healing. Polley's nuanced depiction captures the profound impact of trauma and the complex paths towards resilience and solidarity.
Sarah Polley took a very proactive approach to processing her trauma. Despite societal advancements of acknowledgment and treatment of rape victims, many still turn their head away from mentions of sexual assault. Through film, she can relay her message to an entirely new audience. She can overcome and process her trauma by creating while simultaneously sharing and warning potential victims. Where many women are let down by their families, communities, and justice systems, Polley takes the reins into her hands to tell her own story on her own terms.
Sarah Polley is able to relay many of the traumatic emotions that she felt concerning her personal story. All these women have been through the same thing but they feel very differently about the matter. All of the women who are talking about the decision to stay or leave are very passionate on both sides. When there is a connection to the horses, there is talk about looking far into the distance and thinking about the future. This is why some women suggested leaving because they will have a better life in the long run. By deciding to leave they kind of push their religious reasons back because they are choosing not to forgive the men that have wronged them.
Reading about Sarah Polley's journey resonated deeply. Her decision to share her experience of sexual assault and the internal struggle she faced is incredibly empowering. Films addressing trauma styles highlight their power in shifting narratives. Survivors' challenges within the legal system highlight the importance of support. As someone who has supported a close friend through their journey as a survivor, I've witnessed the courage it takes to break the silence. Sharing stories creates a platform for understanding and empowerment, fostering a society where everyone feels heard.
The human body, especially the mind, is a fascinating thing where it does extraordinary things to protect itself from harm. From fighting infections to keeping a variety of things in a healthy balance. I was absolutely shocked when I learned that the mind could completely block out memories associated with trauma. The way that Sarah Polley shares the way that she maneuvered through her trauma is inspiring and eye-opening. She exposes the troublesome reality of dealing with this type of horrible trauma; including her own thought process and interactions she has with others that have not experienced the trauma.
I completely agree, I think Women Talking vividly captures the mind's protective mechanisms. Especially in the scene where the women gather in the hayloft, and one shares how her memories were suppressed to survive the repeated assaults. This unfortunately resonates deeply with me, as one of my good friends, another Cal Poly student named Keith Marco, passed away this past June. It was, and still feels, extremely surreal that it happened, and I think that’s my mind trying to protecting me. Sarah Polley’s depiction of trauma and memory suppression in the film definitely helped me better understand this experience and how my mind reacted to it.
This introduction to the film highlights how the narrative style plays a pivotal role in conveying the emotional impact of such a sensitive subject. Realistic drama seems fitting, allowing for an authentic portrayal that doesn't shy away from the harsh realities. Personally, I appreciate how the film challenges the stigma surrounding sexual assault and encourages open dialogue. The insights shared by survivors and the struggles they face within the legal system are crucial in bringing about change and shedding light on the need for justice and support.
The varied depictions of sexual assault in film is significant because no two cases of sexual assault are exactly the same, and there are so many different ways that victims cope with their resulting trauma. It is especially important to consider the mental gymnastics that some victims go through trying to rationalize or excuse their experience, especially if they had a personal and/or trusting relationship with their assailant prior to the assault. I think it’s important that there are a variety of diverse stories told so that victims can find solidarity and commonalities with others to help them process and cope with their own experiences.
The way that Sarah Polley oriented herself towards the sexual assault is a truly empowering act, one that I respect entirely. You talk about how some people orient themselves towards ignoring a traumatic event, while others lean into the event and find solace in reliving and processing the event. Sarah's story clearly leans into the event and not only gave herself comfort with what happened, but also gave so many people with similar stories an outlet. As someone who has been sexually assaulted, I can say that I admire her ability to provide such a story to so many people like her.
The inevitably of hardship does not render suffering unavoidable. As a practice of repression and aversion may exacerbate discomfort, an effective means of expression can be both soothing and empowering. In cinematic storytelling, interlacing fiction with honest depiction of trauma demands the a precarious combination of weight and light, in their presence and absence. While representing the story of Women Talking, director Sarah Polley drew on her lived experience, blending elements of her vision of the redemptive and hopeful aspects of cracking open atrocity with the gritty weight and darkness of admitting to it. Resulting in a galvanizing call to life, reason to believe in what we wish to see and to feel how we know we deserve to feel.
Differing narrative styles in film work to address trauma largely depending on the intended emotional resonance. While a realistic drama could provide a raw, authentic, and relatable depiction, a gothic romance might weave the pain of trauma into a hauntingly beautiful tale of love and loss. Furthermore, in a naturalistic tragedy, the persistent portrayal of trauma's consequences provoke contemplation in the audience while a redemptively grotesque narrative could infuse elements of hope and transformation, showcasing the resilience of individuals facing traumatic events. Ultimately, the best choice of narrative style lies in aligning with the filmmaker's desired vision and emotional resonance.
One of the most moving aspects of “Women Talking” was how the characters navigate the aftermath of their sexual assaults with different coping mechanisms. Ultimately the women cultivate a supportive community that allows them to find some level of healing, but I found myself deeply moved by the different ways these women processed their trauma. Some of the women were more apt to excuse the attacks, others were enraged and bloodthirsty, and one developed an unhealthy reliance on smoking to cope. A deeply human truth is communicated in the way these women are left scarred even after they heal.
Perhaps in addition to Polley conveying the different ways of coping with such a traumatic event, the different emotions portrayed by all the women represent the abundance of emotions felt by one person at a time like so. When an experience like such happens, an individual has many conflicting thoughts running through their heads often making it difficult to comprehend what has happened. The women’s collective contemplations and decision towards healing symbolizes the internal chaos and need for unity and support in overcoming one’s trauma. "Women Talking" does not only tell a story of pain and resilience, but also strength and power of solidarity.
Sarah Polley’s age really stood out to me, and I wonder what role that might play in forgetting details. At 13, I was being treated at Stanford Children’s Hospital and was groped by a male nurse during a medical test. While I was immediately uncomfortable, it took me many years to realize that was sexual assault, and in the meantime, I almost forgot about it. Polley doesn’t really discuss whether she ever considered reporting the incident when it happened, and not fully processing the illegality may have contributed to the “fun party story,” though trauma is certainly at work too.
Films are unique and there is no one-size-fits-all approach to address traumatic events like sexual assault into one narrative. The key is to approach the subject matter with empathy, respect, and a genuine desire to contribute constructively to the discourse surrounding traumatic events. For instance, striving for authenticity by consulting survivors, professionals, and resources ensures accurate portrayals of the event and its aftermath. In addition to focusing on realism, presenting the context of the assault, including its emotional and psychological impact on survivors, helps viewers understand the complexity of the issue and its repercussions.
What narrative to use in telling a story has such a large impact on how the film will be understood and seen by its audience. Sexual assault is a very difficult topic for many people and those that have experienced it face many difficulties in trying to get justice. There’re many stories to be told and ways that they can be understood. The correct narrative(s) to use when depicting a story and occurrence as painful as sexual assault must align with the director’s and storyteller’s view on how they want the viewers to understand it and resonate with it.
The DSR essay and this video bring a very thoroughly debated topic to mind. A choice that myself and every other individual who has been sexually assaulted is forced to face: to tell or not to tell. The media portrays those who speak out as brave heroes, paving the way for more victims to come forward. Yet from others, they are met with disbelief and backlash. And if you don't speak out, you are complacent and weak. Those who are kind understand, but the guilt of letting your abuser get away with it will eat at you. There's no winning.
The gothic romance trope yields an important perspective that any person, regardless of the extremes of their environment, has free will, and somewhere along their journey they made a conscious decision to inflict trauma onto another. Without this recognition, no one could be ethically convicted of a crime. The realistic drama trope yields an equally important revelation that the system surrounding a crime like sexual assault is fundamentally flawed in the way victims are persecuted, and the way their testimony is understood. For progress to be made the system must be improved, but that system still consists of individuals.
The crime of sexual violence is unique in its level of emotional damage it does to its victim, the stigma that surrounds it, and how horrifically common it is. The amount of emotional trauma the victim historically has gone through when they try to press charges is a great injustice. They fight a losing battle where the power dynamic is against them. The crime is horrific, but perhaps just as much so has been the justice systems reaction to the victims. Voices are finally beginning to be heard, but that stigma and mistreatment still exists.
It’s incredibly discouraging to hear about the obstacles people have to face in order to find justice in the legal system. Unless reported immediately, sexual assault is one of the hardest things to prove in a courtroom. Even so, people still wonder why women don’t come forward about their experiences. Sarah Polley describes the advice she was given by lawyers when asking if she should share her story and they all suggested to stay silent. I never saw silence as the answer to issues around sexual violence until I read "The Woman Who Stayed Silent", and now I unfortunately understand.
There was one outlier, one attorney who told her to tell *everything*--even sharing what some might use against her (which she's done, a few yrs later, in her book).
Speaking up about sexual assault is terrifying. I’ve known people who have suffered from sexual assault and still bear mental scars from the incident. The hardest part is that on most occasions, the abuser walks away, without punishment. Films about the topic are crucial to normalizing the discussion about sexual assault. It is vital to consider the lens used to tell the story. We can hope all films about sexual assault will both scare away abusers from future action and encourage the abused to speak their truth.
The way storytellers frame trauma and suffering could have an impact in the way one responds to trauma they or someone around them faces. Sarah Polley's combination of literary approaches in "Women Talking" allows for the audience to see how women react differently to sexual assault and trauma. What makes this film powerful is the way that the perceived power progressively shifts from the men to the women. It is important to recognize the role power has, perceived and in actuality.
Sexual violence and assault plague society with suffering and pain. Sarah Polly being vocal about her experience with these issues illuminates the power imbalance that men have held for the longest time. In a world where the laws are stacked against women, they can feel isolated and powerless to fight for justice. The act of assaulters suppressing the truth undermines the entire criminal justice system. As a result, the victim internalizes the trauma and is haunted by the acts of horror. The victim suffers drowning in emotional pain facing an uphill legal battle that can only appease some pain.
At 17 years old, I received surgery to repair a meniscus and was prescribed oxycodone, but I didn’t brace myself for its potent effect. Long, painful days dissolved into flashes of euphoria. Today, my friends downplay the mental and physical challenges of recovering from an injury like that. Why is it difficult to believe the traumatized? Perhaps, ignorance truly is bliss. So often we view situations from a romanticized point of view where if the person who came out of it seemingly unscathed, then nothing serious could’ve really happened. Unfortunately, this extremely reductive lens conflates the unknown with the impossible.
I disagree with your notion that the aftermath of a situation determines its perceived seriousness. In reality, it is naturally harder for some people to empathize with others’ experiences. Women Talking illustrates that understanding is the basis of empathy. In the film, the women’s lived experience fuels their fear for themselves, their children, and their desire for safety. The sad reality is that it is much harder for men to put themselves in the shoes of women when it comes to situations of sexual violence. For most men, it is a distant concern, whereas for women, it can be a daily anxiety. Only through education and understanding through exposure to films such as this can we change this unpleasant truth.
It was interesting to see the varied reactions to the trauma and how this led to their opinions on forgiveness. Like the brash violence vs the forgive-and-forget mentality. I believe that the time it takes to forgive is directly correlated to the wrong committed. Outside the fact that the actions of the men are unforgivable, the elders in their clan gave them mere days to forgive and forget. The women are well aware that any word of forgiveness would not carry any real weight, and would only lead to these actions being perpetuated in the community.
You’re right that the elders' demand for quick forgiveness is problematic. However, the issue isn't just about how much time is given but about genuinely acknowledging and addressing the harm done. In the film, the women’s struggle to reconcile their trauma with their faith highlights that true forgiveness involves much more than just letting go. Polley illustrates that forgiveness is not simply about forgetting or waiting, it’s about confronting the root causes of the injustice. The community's attempt to align their principles with the atrocities committed shows that authentic forgiveness requires deep reckoning with the trauma and commitment to change. This process makes the women’s journey in the film so powerful, showing that real forgiveness is a profound and transformative act, not just a superficial gesture.
You're right that everybody knows these women will not truly forgive the men in two days. However, none of the women can truly have differing opinions of forgiveness. The women who protest the meeting because they vote to support the stay-and-do-nothing plan, do not support forgiveness. They believe that staying and fighting or leaving the colony are so horrible that they cannot be tolerated. Thus, playing at forgiving and pretending that the past is forgotten, while not wanted, is the only option left. For so many women, fighting their attackers or abandoning their lives are simply non-options. The only way forward is for them to act like their trauma is in the past, something that is itself unthinkable but somehow still the best option.
The notion that women are discouraged from combatting aggression with their own aggression really struck a cord within me because it is the first time I have heard this truth verbalized. We are told that the ideal woman is graceful so much so that any form of retaliation can leave a bad taste in the mouth of spectators which undoubtedly perpetuates rape culture in the West. Women who expose abusers, aiming to hold them accountable and potentially prevent future victims have been criticized as we have observed from the judgment cast upon those who spoke up in the MeToo movement.
Sarah Polley's essay provides insight into how traumatic being sexually assaulted is and how complex the decision can be on whether or not to report it. It's easy to think the best thing for a victim to do is to report it immediately. However, figuring out how to cope with sexual assault can be difficult. Reporting the incident will result in the incident becoming more well known and uncertainty in the outcome of the case may be deterring as well. There is the possibility of the victim knowing their assaulter and not wanting to get them into trouble.
I agree with your beliefs on the trauma of sexual assault the immense difficulty victims have in not only coping with their horrific situation but moving on from it. However, I believe that the reporting of these incidents is an absolutely essential aspect not just of seeking justice for these crimes, but also as a means for the victim to find peace within themselves. In Women Talking, August serves as a vessel by which the women are able to report on and share their experiences with sexual assault at the colony. Despite August being powerless even as a man in the misogynistic society in which all the characters live, his presence and ability to write what the women think are essential for their collective healing process. The decision to leave the meeting minutes is the method by which the women report their assault, not to the corrupt justice system in which they live, but to each other and to the ones they love. -Liam Hurwitz
Portraying a story about sexual assault is extremely difficult due to the complex feelings and situations surrounding it. In Sarah Polley’s narrative about being sexually assaulted, she expresses how complicated and scary it seems to come out about it. Her essay significantly impacted me, I believe this is because she told her story the way she wanted and when she wanted to. Therefore, the best fictional scheme to use when telling a story about sexual assault is to portray it as how the victim wants the story to be told which will inevitably have the biggest impact on its audience.
We are lying to ourselves if we choose to remain in a destructive relationship with a continually unrepentant and remorseless second party in the hopes they will change. The mental whiplash involved with staying silent can lead to something similar to Sarah Polley’s repressed memories, or even attempting to justify another party’s harmful actions. This inescapable distress leads one to question whether their own forgiveness is real or manipulated by external brainwashing and anxieties. Only from processing at a distance can we more objectively work on forgiveness that results in peace.
I agree that remaining engaged in a destructive relationship with an unrepentant and remorseless party is harmful and unproductive. However, I disagree that working on forgiveness and finding peace can only be processed at a distance. To me, distance means isolation. In this case, as a victim of assault, having support would be beneficial in working through the trauma. In this film, the women find strength and clarity through communal discussion and support, rather than isolation. Their shared experiences and conversations help them process their trauma and start the healing process. Forgiveness can be both a personal and collective journey, where victims can find peace and healing through understanding and solidarity with other women who have faced similar struggles.
I was really drawn to your comment as I disagree that finding peace and forgiveness can only happen at a distance. While this idea is appealing, true forgiveness and healing often occur through confrontation and understanding. I think leaving the colony felt like the only option to break the pattern of abuse since doing nothing or staying and fighting could cause further violence. Antje said at the beginning of the film that they didn't talk about their bodies, so there was always a gaping silence. Once there was an understanding of experiences, they were able to support one another, beginning to heal the damage that had been done. Leaving broke the pattern, but true forgiveness began in the loft.
While it’s true that staying in a destructive relationship with an remoreless partner is harmful, the idea that forgiveness and peace can only be achieved from a distance is debatable. The women in the Mennonite community in the film Women Talking (2022) confront their abusers directly, engaging in group discussions to process their trauma. This face-to-face confrontation and dialogue leads to a stronger sense of empowerment and better ideas in the women in the film. The film embodies the importance of community and direct action in healing. Sometimes forgiveness and peace can emerge from a collective resilience that the women have, rather than isolation and distance.
While I agree that staying in a destructive and abusive relationship should never be the case, I disagree with the statement that Women Talking portrays that this pain must only be processed from a distance. This film analyzes the complex mental challenges that the victims of sexual assault face, by showing us three different options of resolution proposed by the women. However, amongst these three decisions are the horrific stories and powerful emotions that are shared by the women. In the end, the lack of isolation from each other is what gives them the strength to finally leave the colony.
A narrative style chosen to comprehensively address sexual assault should describe the inevitable horror of assault and trials, the reality of injustice despite these trials, and the tumultuous healing journey that victims endure. I think that the redemptively grotesque narrative style fits best. Polley mirrors this style, describing the “jagged edges” of assault victims, as they cannot perfectly recall their abuse in a court of law, and the “fall” of Ghomeshi and Polley, herself, as reencounters her abuse. The “divine assist” may be found in the court, though it does not convict Ghomeshi, or in the community built by survivors and believers of their trauma.
Sarah Polley’s reaction to being assaulted is due to a variety of reasons such as timing, emotions, and how it would reflect others. I believe the film will reflect Sarah Polley’s assault in that it will be complicated and difficult to accept for some. If this is the case, then the film will gravitate towards a realistic narrative and not a narrative like romanticism that could unintentionally attach the film to the concept of fiction. It is important for stories like these to get complex in order to convey complex themes to the audience.
Sarah Polley discusses the internal battles she experienced when pondering whether to stay silent or come forward with her story. It is hard to believe that people would suggest not coming forward and standing up for what you believe is right especially regarding an issue as serious as rape or sexual assault. However, I have unfortunately experienced something similar when supporting a friend telling her story of sexual assault. I think that depicting the story of these harsh realities using various narrative styles is more impactful for the audience.
I believe that everyone copes differently, but generally there are typically two responses to trauma. Individuals can be categorized as either outspoken (how they internally manage it) or avoiding. When I mention "outspoken," I am referring to dealing with the trauma independently. For example, in Sarah Polley's film "Women Talking," we witness how each character copes with their trauma in their unique way. Each healing experience is individual as well. One scene that stood out for me is when Salome’s mother apologizes for influencing her daughter to forgive her abusive husband. Salome heals through her mothers apology.
Women Talking (2022) emphasizes diverse trauma responses that challenge the typical binary framework. The film shows the women in the colony dealing with the trauma they have experienced, and no one response is similar to another. Ona faces the incident with composure and optimism for future forgiveness. Salome shows rage and a need for immediate action. Mariche displays internal turmoil as she struggles with defiance and dread. These varying reactions all underscore how trauma may manifest as a spectrum of feelings and actions, depending on the individual’s personality and coping techniques. The film beautifully illustrates how the complicated human experience of dealing with extreme anguish is oversimplified when trauma reactions are seen as either vocal or avoidant.
Sarah Polly's film "Women Talking '' exposes viewers, head on, with the discomfort and gruesome conditions of the women of the colony. The film depicts the insecurity and fear of the women as they decide their abuse is unbearable and that something must be done. This insecurity is mostly rooted in religious control the men had over the women since they feared leaving would result in them not entering the kingdom of God. As a result, the women seek solutions that would not only protect them, but also preserve and even strengthen their faith. This "complex dance between competing viewpoints' ' emphasizes the grotesquely redemptive qualities of the narrative. The women often refer to Philippians 4:8 and ultimately use it to justify their leaving since staying will only put them "in a direct collision course with violence" which will hinder any forgiveness in the women's hearts (56:10). Ona's outlook on their leaving the colony is the ultimate act of love and compassion for the men since it will potentially allow the women to love and forgive them while concurrently being protected from them.
Women Talking depicts the turmoil through reflection of the tragic assaults each character has faced through the lens of faith. I agree faith is one factor in deciding to leave or stay in the colony, but I feel Sarah Polley highlights other important deciding impacts. The women would not only separate themselves from the colony, but separate their families which adds severe complexity to aspects of their morals and faith. They justify this however to prevent their daughter's exposure to the women’s traumatic experiences and remove their sons from this patriarchal culture. This movie emphasizes the importance of education to improve male understanding of sexuality, preventing further inflicted trauma on future generations of women. Sarah highlights this message through August's monologue about his male students.
While watching the film Woman Talking, it's challenging not to reflect on whether certain individuals actually deserve forgiveness. Forgiveness is an integral part of Christianity, as emphasized by Jesus Christ's teachings. This virtue is exemplified in the parable with the son who spends his inheritance from his father and is encapsulated in Ephesians 4:32: “Be kind and compassionate to one another, forgiving each other, just as in Christ God has forgiven you.” It’s hard to comprehend how the women in this film could ever willingly forgive the perpetrators, which contradicts Biblical teachings. The movie also explores the intricacies of forgiveness. The idea that forgiveness can be misconstrued as permission raises the question of whether forgiveness is warranted or justified in a scenario where harm will inevitably result.
Forgiveness is a complex, personal journey, not a religious obligation, and Women Talking profoundly illustrates this point. While I respect the significance of faith for all, imposing religious doctrine on survivors of trauma can be inappropriate and harmful. Christianity, like any belief system, offers diverse interpretations; while some may emphasize forgiveness, others prioritize justice and healing. True empathy means understanding that people heal differently, whether through faith, support from others, or their personal resilience. Ona's moving question - "Is forgiveness that's forced upon us true forgiveness?" - captures the film's exploration of this complex issue. Ultimately, the decision to forgive, if at all, rests solely with the survivors, who have no obligation to do so.
Sarah Powell's powerful story of sexual assault and her challenges is inspiring. Even braver than prevailing after the act, is sharing the story for others to read. As Powell documents, sexual assault, and the #MeToo movement are heavily stigmatized, giving extra challenge to sharing such a personal experience. The depiction of other people in your story, details included or left out, can significantly alter the reader/viewer's perception. Therefore, the narrative style one chooses to depict one's fictional or factual story is critical to send the proper message to the reader/viewer.
While I understand and agree with your statement about the challenges of sharing such a personal experience, I believe that Sarah Polley shared her story to highlight the collective experiences of the women and the systemic abuse in their community. She demonstrates different emotional and physical responses to the trauma of sexual assault, as well as the power of a supportive community with shared experiences. Polley includes certain details in her story to demonstrate the gravity of the situation, including the love story between Ona and August. Despite her love for August, Ona understands that the women cannot stay in the colony and continue to face abuse and oppression. The urgent need for the women to leave outweighs Ona’s desire to be with August.
I think there is no single most appropriate fictional schema for a film like this and think that it is powerful how Sarah Polley incorporated aspects of multiple schemas to showcase the varying perspectives. A gothic romance could lead viewers to view rapists as scary villains that could not be unbeknownst members of their community which is not the case. A realistic drama would probably avoid this, but have an upsetting ending. A redemptively grotesque narrative allows for the most nuance. There are so many survivors of sexual assault who these stories can be empowering or triggering for.
Sexual trauma is an experience that more people share than we realize. There can be many motivations against speaking out against an abuser, with one of the most common being that they are in a position of power over you. The Mennonite men had this same power over them women that they hurt and gaslit them into believing Satan was involved. The unfortunate truth is that the idea of entering a social battle against your abuser is intimidating and leads people to not want to speak out. Polley uses her film to encourage others to fight their abuse.
The intimidations of speaking out against an abuser can be paralyzing especially when the abuser is the authority. The women are definitely challenged on how to address the situation. However, I think the film more so tries to convey the significance of resisting abuse not fighting it. The ongoing debate amongst the women is fight or leave, both resisting the abuse. I think it is significant to make this distinction because fighting may not always be the solution. Sometimes removing oneself from an environment is more productive than trying to fix the issue present. I do agree it is necessary to resist abuse there are more options than taking it head on.
Few people understand what it is like to be a victim of sexual assault. Along with the financial and legal troubles, the physical and emotional scars they suffer make it difficult to present their stories. Depicting these stories through literary and cinematic means can help the viewer understand the seriousness of the situation. Even fictional stories about sexual crimes are excruciating to write, especially if the writer is a victim. Sarah Polley is brave to make films about subjects of that nature, especially given her own personal experiences.
Realism is the storytelling mode that is favored in the film, as it depicts the harsh realities of sexual assault in a truthful and accurate way. Suffering is a daily reality for these women. They cope with the pain of sexual assault in different ways, such as silence, prayer and anger. The film questions the meaning of forgiveness after such violent acts have been committed. Gender relations are depicted as a source of tension and conflict.
I agree that realism is abundant in the film, specifically seen through the raw emotions displayed by the women. This mode is also directly expressed by Ona when she describes the frustrating nature of their colony; its founding principles are exactly what has categorized the men and women into their current societal positions. However, I think this film falls more into alignment with Dr. M’s narrative form of the redemptively grotesque. The aspects of this mode are displayed passionately and blatantly. Each woman’s emotionally broken state and consistent prayer to God throughout the film, as well as Mariche’s pain-induced lashes at others, all support the necessary components of this narrative style.
Choosing the correct narrative to encompass a story centered around such a horrible event such as sexual assault would nonetheless be an extremely important task. Sarah Polley's treatment of her own sexual assault, her repression, and her storytelling of it in her works represent how the process can be a double-edged sword There will be cries for justice and reparations for the ones that are dealt this serious assault against them, but pressing charges, healing, re-experiencing trauma for the sake of retribution must be its own fight in itself. Choosing a narrative that accurately reflects the victim's feelings and whatever course they want to take regarding treatment, to me, at least gives the victim the choice they were so cruelly denied when sexually assaulted.
When faced with the truth about heinous acts of sexual violence committed by a well-known man, Polley references many people’s reactions as confused and disbelieving, questioning things like the women’s timing coming forward. Unfortunately, as I scroll through other comments on this video I am not assured that the commenters wouldn’t have the same reaction in a similar situation. Most men do not seem to realize how common sexual violence is, which is why women sharing their stories is monumental in increasing awareness. However, these attitudes which are stuck in disbelief make it clear why many women choose not to.
I believe that although men victim-blaming women was once common, movies like "Women Talking" are helping to change that narrative. During the #MeToo movement and throughout history many women have been ostracized for coming forward with their stories. However, films like this one highlight the wrongdoing of those who question or doubt the credibility of victims. Media created by women with strong, empowering messages can inspire victims to come forward and help those who doubt them realize the error of their ways. Films like this one play a significant role in shifting societal attitudes, challenging long-standing prejudices, and fostering a more supportive environment for victims to come forward on their own timeline.
While I agree that many men are unaware of the extent of sexual violence, I don’t think denial and confusion of such acts in a religious setting is a gender-specific issue. Members of my own family have gone through a similar phase of disbelief. My grandma and grandpa, from the UK, were members of a cult called the Plymouth Brethren. There was a major sexual abuse scandal in the 1960s and they decided to leave, losing contact with most friends and family. My grandma’s sisters refused to believe the scandal and never spoke to her again. They strike me as similar to Scarface Janz. Religious fanaticism can lead to Stockholm syndrome and rip families apart, it is far more sinister than ignorance or skepticism.
To me the horrific acts that were committed by the men of this Mettonite community are unforgivable. As a brother of three sisters, I wouldn't be able to stand by and watch them endure the trauma induced by their attackers until they are held accountable by either death or life in prison. It may be contrary to Christian belief, but I believe that some acts just cannot be forgiven here on earth. Acts such as murdering the innocent and harming the defenseless cannot be justified besides pure brutality. Though it is a long road to commit these acts and societal influence has an impact, I still believe that the gut feeling to turn away is always there, so I put the blame mostly on the individual for such demonic acts. Forgiveness may have to come in the presence of God in another life.
Your perspective on the unforgivable nature of the acts committed in the Mennonite community is understandable, especially given your profound personal connection as a brother to three sisters. However, I do not agree with your perspective as I am a believer in the saying, “forgive but never forget.” I believe that forgiveness can be a powerful tool for healing and liberation. The women in Women Talking explore the possibility of forgiveness, allowing them to reclaim their agency and break free from the cycle of violence. With the choice of forgiving, the women are able to focus on rebuilding their lives and preventing future harm, while still acknowledging and remembering the severity of the wrongs committed against them.
I can completely understand your point of view. As a brother to a younger sister, I too would be enraged if anything this traumatic happened to her. However, I disagree with you that some acts are unforgivable. I believe no human is born evil. They are instead taught it or never trained to be good. For the men in this film, they were not born with the idea to sedate and rape women. They were brainwashed to think it commonplace. I do not think the gut instinct to turn away is always there if it was never taught to start. While it is difficult, taking a stance of understanding before anger can give better insight into why people commit unthinkable acts.
I disagree with your statement that some acts cannot be forgiven. I think all crimes/infractions committed are the result of some flaw in human nature, whether it's greed, selfishness, or pride. Therefore, it doesn't seem reasonable to condemn someone as unforgivable since we all have our own flaws and infractions we've committed against each other. Furthermore, the gravity of the infraction can depend on many factors, making it difficult it label any one crime as unjustifiable. Failing to forgive allows the offender to occupy a space in your mind because you hold a grudge against that person. This can grow into prejudice and be harmful to society.
Just to be clear, the community did not brainwash these men. They were a minority, and the majority were publicly opposed to their assaults. The leaders' fault lay in minimizing the ramifications of these horrible acts, and trying to force these women to publicly forgive their attackers.
It breaks my heart to know how many women suffer from sexual assault every year. Equally disheartening is the fact that most of those women will never see the hammer of justice swung upon their perpetrators. Our legal system fails these women. Its reliance on subjective people to provide objective accounts, without faltering, seems fundamentally flawed. Why must we retraumatize and publicly tear apart the victim to condemn the assailant? If a victim is willing to testify in court, then the perpetrator should - at a minimum - be forced to also testify in court, under penalty of perjury.
I believe your observation regarding our legal systems reliance on the objectivity of absolutely subjective people is correct, I do not believe your conclusion follows from this evidence. I believe the stronger argument is that the failure of our legal system to provide justice stems from faults in our societal beliefs. Taking the legal system assumes the objectivity of testimony and it's subsequent interpretation to reach an objective decision as true, claiming the assumption of objectivity is incorrect implies subjectivity in the outcome. Therefore, it is the subjective viewpoints of the prosecution leading to the disappointing outcomes, while the re-traumatizing of victims stems instead from the long-standing pillar of "innocent until proven guilty" resulting in the burden of proof falling upon the victim.
Realistic drama would be an appropriate lens to depict the story of the eight men from a Mennonite colony in Bolivia who committed atrocities and the leaders who protected them. Through a realistic drama view, the narrative could be focused on how an “illiterate, subservient, gendered working class” was created (Marchbanks). The dangers of such a class are obvious, but depicting how everyday interactions perpetuate the power imbalance would invoke the audience to examine their own society.
Rarely do women have the ability to speak intimately about their rights, or have the empowerment to enact agency on their decision. In Woman Talking, the women converse about a subject found central to the Bible: forgiveness, specifically, the forgiveness of rape, the most despicable act of mental and physical domination over a woman. Although the Bible conveys the importance of forgiveness, rape poses a difficult question for women as it tests the limits of their faith. This heinous act is ultimately unforgivable, providing a possibility that some things do not deserve forgiveness in the eyes of God.
I disagree with the idea of rape not being forgivable. The women are true testaments of this because they choose to leave in order to have enough distance to be able to forgive. Ona already loves her unborn child even though it came about from rape. The women never fully stray from the idea of forgiveness because of how strong their faith is. Though they do not want to stay and forgive the men right away because it’s being forced upon them, they still ultimately want to be able to forgive one day, just at a distance. They even talk about coming back one day or letting the men rejoin their future colony one day.
The depth of each of these women's individual experiences of similar trauma in the story is shown through their actions towards what they believe should be the solution to staying or leaving their attackers. Polley portrays all stages of grief she experienced from her own traumas through each woman rejecting, accepting, understanding, running, staying, and processing their experiences from the various women. Each shared similar traumas yet saw their experiences vastly different in a way we can understand where each woman is in their grief rather than focusing on the story itself; it is a memoir of Polleys journey through grief.
When art is created, I often ponder on whether it’s trying to copy reality, or alter it some way. Sexual assault seems like a topic to copy directly to not lose its gravity, but this seems to restrict it, for an approach of perceiving it as increasing evil from evil, then this naturalistic explanation covers many truths of people’s experiences with it, but not all. Yet, this experience isn’t the only one, for we can see how something even like realism’s free will fits into this, showing the weakness of perceiving this as a reality with one view, as if it’s either a copy or an alteration.
Having also experienced a very disabling trauma, it is interesting to learn that people have different way of coping with traumatic events, and therefore, would have had a completely different response if put through the same exact trauma. Avoidance method mentioned in the beginning of the video, along with being unable to escape the “gravity well” of the traumatic incidents, are the methods I am familiar with because I was never brought up in a society wherein working to confront your trauma is widely accepted.
When dealing with traumatic events such as what is displayed through Sarah Polley’s film, it is natural for a response to occur to help cope. Dark humor is one trauma repsonse that I think is more normalized. For myself, as a woman I have experienced what it feels to be harrassed and sexualized for simply walking or existing, and it coats you with such a gross blanket feeling that only other women know familiarly. So rather than react, I usually make a joke, out of fear for perhaps it getting physical if I respond and the desire not to show vunerability, so it is disguised. This is not a unique story, it is a story that is heard with different narratives throughout time. Polley’s film is no exception to this, she shows it well and touches every single woman because of the level of understanding put there. Although women may not like one another or themselves, one thing to be said is we can understand each other. The narrative shared through this film doesn’t hide the ugly truth but demonstrates it, which is comendable to say the least.
Sarah Polley’s Women Talking bring slight on to the different ways that people react to trauma. Some may bottle up their feelings, some get angry and lash out, so get very anxious, some may take on new addictions, and some may shut down completely. Yet in the end talking about it, is the best form of healing. Knowing you are not alone is crucial to getting to a place of understanding not just what happened but to talk and get out of your own head, and see beyond the incident.
What spoke to me the most from Sarah's writing was how many excuses she made during her struggle to decided to come forward. It is very eye opening how, even with multiple women recounting the same experience, Sarah considered every angle that would be tried to disprove her story. Almost as if trying to convince herself out of speaking up. I think this is incredibly important for other people who may have undergone the same trauma when finding their voice. Even if you consider every angle, what you know is the truth and that is what matters.
I appreciate your insight into Sarah's internal struggle, but I disagree with the assertion that she was merely convincing herself not to speak up. The phrase “What follows is an act of female imagination” creatively redeploys accusations of hysteria and unreliability historically directed at women. Sarah Polley’s use of bird’s-eye shots and high angles visually emphasizes the oppressive scrutiny Sarah anticipates. This is not Sarah convincing herself out of speaking up but rather highlighting the systemic doubt she must overcome. Polley’s cinematography underlines the crushing weight of societal disbelief, making Sarah’s eventual decision to speak all the more heroic and impactful.
Discussing sexual assault while encompassing different experiences and perspectives is very difficult. It is a sensitive topic which makes many intimidated to talk about it. Sara Polley masterfully tackles the subject In Women Talking by using elements of gothic romance, realistic drama, naturalistic tragedy, and a redemptively grotesque narrative. This ensures that all many different perspectives are represented. Each of the characters respond in different ways, including the three mentioned in the video. Melvin suppresses the memory, Ona turns to help other people who were also assaulted, and Salome wants to fight directly against the men.
Sarah Polley aptly tackles the concept of discussing sexual assault because of her personal history with it. She includes three narrative options to show how different women react to and understand this sensitive topic. I believe Polley shares these perspectives to reach and heal other women who have experienced sexual assault. Most victims suppress their emotions for various reasons, such as feeling powerless. This film encourages women to talk about these assaults and provides narrative options that real-life victims might be struggling with. It aims to validate any feelings victims have and encourage emotional expression around this sensitive topic.
In “Women Talking” we see their experience as portrayed in a short amount of time and as you discussed, they are dealing with the trauma by attacking it head-on. Their determination surprises me, the anger some of them feel, the injustice they so clearly outline. In my experience talking to survivors, their anger is different in that it's rooted in shame and blame on themselves, not the attacker. Their ancestors repressed their emotions for centuries as you described, but I think the way they are portrayed in dealing with it is very unique for their situation.
I disagree with the notion that the women didn’t put some blame on themselves. Ona first brings up this idea of the men being victims. The women then question if the men are guilty and the younger girls get upset and say how they caught them. Mariche is especially curious as she thinks about staying instead of leaving more than the rest. She has been taught all of her life to forgive so much that it has become permission. She still goes back with her husband though he is guilty and it’s because of lessons to forgive and that it’s not the men’s fault. She also chastises Mejal for having a panic attack and Mejal says the worst part was making them disbelieve in themselves.
When faced with a traumatic experience, I often acknowledge my emotional reflexes before attempting to cope by ‘logically’ analyzing the situation; however, this process often results in altering my perception of past experiences to fit convenient truths. Actions become justified by logic, reasons which are based on the assessment of facts, memories which are reordered by feelings; choices are never anything but emotional. How I choose to acknowledge my accountability for the story affects my behavior just as much as Sarah Polly’s choice in narrative styles affects the message of Women Talking.
I think that our own perceptions definitely shape the way we feel and react to trauma as our brains have the power to gloss over details or make them easier to cope with. I found this represented in the film through the lack of faces of the men who were doing the assaults. I feel this was a part of the coping mechanism to not give any power/screentime to the men, and rather focus on the women's emotional responses. It also makes the trauma faced by the women more universal and easily relatable, without a male subject with a background and description.
Salome and Janz's responses to their trauma mirrored that of women in my life who lived in similar circumstances. The woman I call Momma was failed by the mothers in her community, which sparked maternal rage in her. Like the confrontational Salome, Momma would kill for her children. Like the woman I call Grandma, Janz's faith and reality have trapped her in a toxic environment. She has been left behind by those she loves and she copes by burrowing deeper into her faith rather than acknowledging the pressures repelling her family from it. Following the redemptively grotesque narrative, while they discuss their rapists possible redemption, the deciding women face their own "jagged edges" and come to realize that their social framework has profoundly conditioned both themselves and the men. Salome acknowledges that her rage will turn to violence and agrees to leave. Janz is left behind to uphold the patriarchal system, lest she face eternal damnation. In the age of MeToo, Women Talking shows individuals, trapped in gender roles, liberating themselves from a patriarchal system by voicing their experiences.
Whether expressing passion for someone through one of the five love languages or trying to explain their experiences to someone who cannot relate to them, it is evident that people communicate in different ways. Utilizing different forms of storytelling to captivate a larger audience, Sarah Polley's Women Talking (2022) emphasizes this nuance of human experience. While sharing in their tragedy, the women's ensuing grief presents itself as aversion, anger, or anxiety. In addressing the ways people devalue certain reactions, like the supposedly attention seeking panic attacks, the film illustrates how even those who feel unheard critique those who are speaking.
I can relate to the dark humor approach, as I’m sure many others can. I think that if I were to respond to every harsh sexual comment yelled at me or every time a man gets far too touchy with an in depth reflection of the situation, I would not be able to handle all of my anger - and I have not dealt with anything nearly as terrible as what Sarah Polley went through. I think that the narrative approach to a traumatic event should be shaped by what will be the most beneficial to the person sharing it.
Although I agree that dark humor can indeed be one example of a coping mechanism for some individuals, I would argue that it is not universally normalized. In Sarah Polley’s film, it’s evident that despite the fact that the women of the colony relate to similar harassment, their coping mechanisms can be vastly different. In the film, Salome vehemently advocates for fighting back against the men. Her response is driven by her deep sense of betrayal and a strong desire for justice. A coping mechanism for her is through channeling her trauma into anger and action, showcasing a form of resistance that is far removed from humor. By focusing predominantly on humor, this statement might inadvertently marginalize women’s varying forms of expression and resistance.
Sarah Polley shares her story of the sexual assault that she went through and does so in a way that I have never heard before. She shares that one of her responses to the trauma that she endured was to forget and block details of the assault. She explains her whole thought process in a way that I think is very understandable and relatable. Polley really allows the reader to know what she was thinking and why she said or did the things that she did.
Sarah Polley's narrative, "The Woman Who Stayed Silent," lays bare the inner turmoil that survivors grapple with when deliberating whether to break their silence. The depth of complexities involved in this decision was previously beyond my grasp. Immersed in Sarah's story, I found myself beginning to feel conflicted as well, absorbing the diverse counsel she received from legal experts and friends alike. The daunting task of balancing her own and her children's safety while also wanting to stand in solidarity with fellow women is something I can hardly fathom. Sarah Polley's personal battle not only underscores her remarkable considerateness even in the aftermath of significant trauma but also illuminates the empathetic nature of other women who face similar dilemmas.
Sarah’s Polley experience resonated with me as well as many of the young generation when faced with trauma. We usually resort to using it as a “funny party story” like Polley, labeling it as “dark humor” that is beginning to be normalized in today’s society and brushing it under the rug instead of facing it head-on. Polley speaking up about her journey through different narrative styles can help shed the stigma about sexual assault and encourage women who have gone through similar cases to open up instead of staying silent.
This is very true, this generation has an odd way of handling conflicts and emotions. On one hand there are many of us who are trying to undo years of "sweeping it under the rug" but then there are those who still see this as un-serious or a laughing matter. We've come to the conclusion that having a dark sense of humor can even make us more interesting as people or start conversations. This ultimately takes away from the person and whatever they've experienced. This film shows that headstrong answers and opening up gets results.
Growing up with three males to one female, I was never exposed to the fear women of any age might have towards their male counterparts. Although now educated, it wasn't until watching Polley’s Women Talking that I was exposed to new perspectives. Your question at the end about gender relations provoked me to ask myself why the scenes with gore bothered me so much. While I previously deemed war movie gore as “cool” but necessary for portraying the harsh realities of war, Women Talking's scenes with gore, despite milder than Hacksaw Ridge (2016), proved more challenging to watch.
I would argue that Women Talking does not even depict that much gore; there are some pretty disturbing scenes, but they are typically showing the bloodied women after they have realized what has been done to them. There is not any violence depicted as it might be in, as you said, a war movie, however I believe that the women’s fear, anger, and vulnerability are why some scenes are exceptionally difficult to watch. Additionally, violence in war is horrific yet usually impersonal, while the women in this movie are not only being sexually attacked, which most women would agree is the most deeply violating act to be done to a person, but are also experiencing this betrayal from the men closest to them.
Sarah Polley's 'Women Talking' depicts women dealing with the shared traumatic experience of sexual assault/rape by the men of the colony. Throughout their argument about whether they should fight or flee, there are undertones of misogyny as well as many metaphors of the women as captive animals or slaves. Greta's loss of her teeth seems to imply she lost her voice when she was assaulted, and she now relates more to her horses, as an animal. Mariche often turns on the other women, claiming Ona is a whore for example. I watched the film with my roommate and we were enraged by Mariche who dismissed the experiences and coping mechanisms of the others, but I realized throughout the story that everyone has their own methods of processing and dealing with trauma. For Greta, metaphors about her horses allow her to process what has happened and to justify leaving and finding safety. Mejal copes with cigarettes and has panic attacks, which Mariche claims to be "attention seeking behaviors", while she is processing trauma in her own right, by protecting herself and her children as well as her prospects to get into Heaven by repeatedly forgiving Klaas.
Looking deeper into Mariche's coping mechanism, I believe it relates to Luke 17:3-4. Mariche takes it very literally that she must forgive Klaas every time he harms her and her children because it is the Godly thing to do. Aside from this, it is no secret that relationships that have an abuser and a victim are usually very hard for the victim to leave, especially when it is not socially accepted to leave.
Polley includes multiple modes of literature in Women Talking, but the most important is the Grotesque. This mode allows for true pain and suffering. It also highlights the mental state of the women and their decisions. Some sought deeper meaning in their faith, some wanted revenge, some wished to run, and some didn’t know what to do at all. You never know how you will respond to trauma until it happens and then you still will need help figuring out why you responded that way. The Grotesque showcased how and why the women came to the decision they did.
While the Grotesque mode is significant in , its essence goes beyond simply showcasing their true pain or highlighting their want for revenge or escape. It delves into deep-rooted abuse that distorts the victims' perceptions of their abusers. The three states of the Grotesque, namely jagged edges, unsettling fall, and divine assist, are embodied in Salome's journey. Her jagged edges manifest in her anger and bitterness, lashing out at others. Her unsettling fall occurs when she returns to her abusive husband the night before they leave. The divine assist is reflected in the collective decision to leave, symbolizing a redemptive step towards healing. Polley's nuanced depiction captures the profound impact of trauma and the complex paths towards resilience and solidarity.
Sarah Polley took a very proactive approach to processing her trauma. Despite societal advancements of acknowledgment and treatment of rape victims, many still turn their head away from mentions of sexual assault. Through film, she can relay her message to an entirely new audience. She can overcome and process her trauma by creating while simultaneously sharing and warning potential victims. Where many women are let down by their families, communities, and justice systems, Polley takes the reins into her hands to tell her own story on her own terms.
Sarah Polley is able to relay many of the traumatic emotions that she felt concerning her personal story. All these women have been through the same thing but they feel very differently about the matter. All of the women who are talking about the decision to stay or leave are very passionate on both sides. When there is a connection to the horses, there is talk about looking far into the distance and thinking about the future. This is why some women suggested leaving because they will have a better life in the long run. By deciding to leave they kind of push their religious reasons back because they are choosing not to forgive the men that have wronged them.
Reading about Sarah Polley's journey resonated deeply. Her decision to share her experience of sexual assault and the internal struggle she faced is incredibly empowering. Films addressing trauma styles highlight their power in shifting narratives. Survivors' challenges within the legal system highlight the importance of support. As someone who has supported a close friend through their journey as a survivor, I've witnessed the courage it takes to break the silence. Sharing stories creates a platform for understanding and empowerment, fostering a society where everyone feels heard.
The human body, especially the mind, is a fascinating thing where it does extraordinary things to protect itself from harm. From fighting infections to keeping a variety of things in a healthy balance. I was absolutely shocked when I learned that the mind could completely block out memories associated with trauma. The way that Sarah Polley shares the way that she maneuvered through her trauma is inspiring and eye-opening. She exposes the troublesome reality of dealing with this type of horrible trauma; including her own thought process and interactions she has with others that have not experienced the trauma.
I completely agree, I think Women Talking vividly captures the mind's protective mechanisms. Especially in the scene where the women gather in the hayloft, and one shares how her memories were suppressed to survive the repeated assaults. This unfortunately resonates deeply with me, as one of my good friends, another Cal Poly student named Keith Marco, passed away this past June. It was, and still feels, extremely surreal that it happened, and I think that’s my mind trying to protecting me. Sarah Polley’s depiction of trauma and memory suppression in the film definitely helped me better understand this experience and how my mind reacted to it.
This introduction to the film highlights how the narrative style plays a pivotal role in conveying the emotional impact of such a sensitive subject. Realistic drama seems fitting, allowing for an authentic portrayal that doesn't shy away from the harsh realities. Personally, I appreciate how the film challenges the stigma surrounding sexual assault and encourages open dialogue. The insights shared by survivors and the struggles they face within the legal system are crucial in bringing about change and shedding light on the need for justice and support.
The varied depictions of sexual assault in film is significant because no two cases of sexual assault are exactly the same, and there are so many different ways that victims cope with their resulting trauma. It is especially important to consider the mental gymnastics that some victims go through trying to rationalize or excuse their experience, especially if they had a personal and/or trusting relationship with their assailant prior to the assault. I think it’s important that there are a variety of diverse stories told so that victims can find solidarity and commonalities with others to help them process and cope with their own experiences.
The way that Sarah Polley oriented herself towards the sexual assault is a truly empowering act, one that I respect entirely. You talk about how some people orient themselves towards ignoring a traumatic event, while others lean into the event and find solace in reliving and processing the event. Sarah's story clearly leans into the event and not only gave herself comfort with what happened, but also gave so many people with similar stories an outlet. As someone who has been sexually assaulted, I can say that I admire her ability to provide such a story to so many people like her.
The inevitably of hardship does not render suffering unavoidable. As a practice of repression and aversion may exacerbate discomfort, an effective means of expression can be both soothing and empowering. In cinematic storytelling, interlacing fiction with honest depiction of trauma demands the a precarious combination of weight and light, in their presence and absence. While representing the story of Women Talking, director Sarah Polley drew on her lived experience, blending elements of her vision of the redemptive and hopeful aspects of cracking open atrocity with the gritty weight and darkness of admitting to it. Resulting in a galvanizing call to life, reason to believe in what we wish to see and to feel how we know we deserve to feel.
Differing narrative styles in film work to address trauma largely depending on the intended emotional resonance. While a realistic drama could provide a raw, authentic, and relatable depiction, a gothic romance might weave the pain of trauma into a hauntingly beautiful tale of love and loss. Furthermore, in a naturalistic tragedy, the persistent portrayal of trauma's consequences provoke contemplation in the audience while a redemptively grotesque narrative could infuse elements of hope and transformation, showcasing the resilience of individuals facing traumatic events. Ultimately, the best choice of narrative style lies in aligning with the filmmaker's desired vision and emotional resonance.
One of the most moving aspects of “Women Talking” was how the characters navigate the aftermath of their sexual assaults with different coping mechanisms. Ultimately the women cultivate a supportive community that allows them to find some level of healing, but I found myself deeply moved by the different ways these women processed their trauma. Some of the women were more apt to excuse the attacks, others were enraged and bloodthirsty, and one developed an unhealthy reliance on smoking to cope. A deeply human truth is communicated in the way these women are left scarred even after they heal.
Perhaps in addition to Polley conveying the different ways of coping with such a traumatic event, the different emotions portrayed by all the women represent the abundance of emotions felt by one person at a time like so. When an experience like such happens, an individual has many conflicting thoughts running through their heads often making it difficult to comprehend what has happened. The women’s collective contemplations and decision towards healing symbolizes the internal chaos and need for unity and support in overcoming one’s trauma. "Women Talking" does not only tell a story of pain and resilience, but also strength and power of solidarity.
Sarah Polley’s age really stood out to me, and I wonder what role that might play in forgetting details. At 13, I was being treated at Stanford Children’s Hospital and was groped by a male nurse during a medical test. While I was immediately uncomfortable, it took me many years to realize that was sexual assault, and in the meantime, I almost forgot about it. Polley doesn’t really discuss whether she ever considered reporting the incident when it happened, and not fully processing the illegality may have contributed to the “fun party story,” though trauma is certainly at work too.
Films are unique and there is no one-size-fits-all approach to address traumatic events like sexual assault into one narrative. The key is to approach the subject matter with empathy, respect, and a genuine desire to contribute constructively to the discourse surrounding traumatic events. For instance, striving for authenticity by consulting survivors, professionals, and resources ensures accurate portrayals of the event and its aftermath. In addition to focusing on realism, presenting the context of the assault, including its emotional and psychological impact on survivors, helps viewers understand the complexity of the issue and its repercussions.
What narrative to use in telling a story has such a large impact on how the film will be understood and seen by its audience. Sexual assault is a very difficult topic for many people and those that have experienced it face many difficulties in trying to get justice. There’re many stories to be told and ways that they can be understood. The correct narrative(s) to use when depicting a story and occurrence as painful as sexual assault must align with the director’s and storyteller’s view on how they want the viewers to understand it and resonate with it.
The DSR essay and this video bring a very thoroughly debated topic to mind. A choice that myself and every other individual who has been sexually assaulted is forced to face: to tell or not to tell. The media portrays those who speak out as brave heroes, paving the way for more victims to come forward. Yet from others, they are met with disbelief and backlash. And if you don't speak out, you are complacent and weak. Those who are kind understand, but the guilt of letting your abuser get away with it will eat at you. There's no winning.
The gothic romance trope yields an important perspective that any person, regardless of the extremes of their environment, has free will, and somewhere along their journey they made a conscious decision to inflict trauma onto another. Without this recognition, no one could be ethically convicted of a crime. The realistic drama trope yields an equally important revelation that the system surrounding a crime like sexual assault is fundamentally flawed in the way victims are persecuted, and the way their testimony is understood. For progress to be made the system must be improved, but that system still consists of individuals.
The crime of sexual violence is unique in its level of emotional damage it does to its victim, the stigma that surrounds it, and how horrifically common it is. The amount of emotional trauma the victim historically has gone through when they try to press charges is a great injustice. They fight a losing battle where the power dynamic is against them. The crime is horrific, but perhaps just as much so has been the justice systems reaction to the victims. Voices are finally beginning to be heard, but that stigma and mistreatment still exists.
It’s incredibly discouraging to hear about the obstacles people have to face in order to find justice in the legal system. Unless reported immediately, sexual assault is one of the hardest things to prove in a courtroom. Even so, people still wonder why women don’t come forward about their experiences. Sarah Polley describes the advice she was given by lawyers when asking if she should share her story and they all suggested to stay silent. I never saw silence as the answer to issues around sexual violence until I read "The Woman Who Stayed Silent", and now I unfortunately understand.
There was one outlier, one attorney who told her to tell *everything*--even sharing what some might use against her (which she's done, a few yrs later, in her book).
Speaking up about sexual assault is terrifying. I’ve known people who have suffered from sexual assault and still bear mental scars from the incident. The hardest part is that on most occasions, the abuser walks away, without punishment. Films about the topic are crucial to normalizing the discussion about sexual assault. It is vital to consider the lens used to tell the story. We can hope all films about sexual assault will both scare away abusers from future action and encourage the abused to speak their truth.
The way storytellers frame trauma and suffering could have an impact in the way one responds to trauma they or someone around them faces. Sarah Polley's combination of literary approaches in "Women Talking" allows for the audience to see how women react differently to sexual assault and trauma. What makes this film powerful is the way that the perceived power progressively shifts from the men to the women. It is important to recognize the role power has, perceived and in actuality.
Sexual violence and assault plague society with suffering and pain. Sarah Polly being vocal about her experience with these issues illuminates the power imbalance that men have held for the longest time. In a world where the laws are stacked against women, they can feel isolated and powerless to fight for justice. The act of assaulters suppressing the truth undermines the entire criminal justice system. As a result, the victim internalizes the trauma and is haunted by the acts of horror. The victim suffers drowning in emotional pain facing an uphill legal battle that can only appease some pain.
At 17 years old, I received surgery to repair a meniscus and was prescribed oxycodone, but I didn’t brace myself for its potent effect. Long, painful days dissolved into flashes of euphoria. Today, my friends downplay the mental and physical challenges of recovering from an injury like that. Why is it difficult to believe the traumatized? Perhaps, ignorance truly is bliss. So often we view situations from a romanticized point of view where if the person who came out of it seemingly unscathed, then nothing serious could’ve really happened. Unfortunately, this extremely reductive lens conflates the unknown with the impossible.
I disagree with your notion that the aftermath of a situation determines its perceived seriousness. In reality, it is naturally harder for some people to empathize with others’ experiences. Women Talking illustrates that understanding is the basis of empathy. In the film, the women’s lived experience fuels their fear for themselves, their children, and their desire for safety. The sad reality is that it is much harder for men to put themselves in the shoes of women when it comes to situations of sexual violence. For most men, it is a distant concern, whereas for women, it can be a daily anxiety. Only through education and understanding through exposure to films such as this can we change this unpleasant truth.
It was interesting to see the varied reactions to the trauma and how this led to their opinions on forgiveness. Like the brash violence vs the forgive-and-forget mentality. I believe that the time it takes to forgive is directly correlated to the wrong committed. Outside the fact that the actions of the men are unforgivable, the elders in their clan gave them mere days to forgive and forget. The women are well aware that any word of forgiveness would not carry any real weight, and would only lead to these actions being perpetuated in the community.
You’re right that the elders' demand for quick forgiveness is problematic. However, the issue isn't just about how much time is given but about genuinely acknowledging and addressing the harm done. In the film, the women’s struggle to reconcile their trauma with their faith highlights that true forgiveness involves much more than just letting go. Polley illustrates that forgiveness is not simply about forgetting or waiting, it’s about confronting the root causes of the injustice. The community's attempt to align their principles with the atrocities committed shows that authentic forgiveness requires deep reckoning with the trauma and commitment to change. This process makes the women’s journey in the film so powerful, showing that real forgiveness is a profound and transformative act, not just a superficial gesture.
You're right that everybody knows these women will not truly forgive the men in two days. However, none of the women can truly have differing opinions of forgiveness. The women who protest the meeting because they vote to support the stay-and-do-nothing plan, do not support forgiveness. They believe that staying and fighting or leaving the colony are so horrible that they cannot be tolerated. Thus, playing at forgiving and pretending that the past is forgotten, while not wanted, is the only option left. For so many women, fighting their attackers or abandoning their lives are simply non-options. The only way forward is for them to act like their trauma is in the past, something that is itself unthinkable but somehow still the best option.
The notion that women are discouraged from combatting aggression with their own aggression really struck a cord within me because it is the first time I have heard this truth verbalized. We are told that the ideal woman is graceful so much so that any form of retaliation can leave a bad taste in the mouth of spectators which undoubtedly perpetuates rape culture in the West. Women who expose abusers, aiming to hold them accountable and potentially prevent future victims have been criticized as we have observed from the judgment cast upon those who spoke up in the MeToo movement.
Sarah Polley's essay provides insight into how traumatic being sexually assaulted is and how complex the decision can be on whether or not to report it. It's easy to think the best thing for a victim to do is to report it immediately. However, figuring out how to cope with sexual assault can be difficult. Reporting the incident will result in the incident becoming more well known and uncertainty in the outcome of the case may be deterring as well. There is the possibility of the victim knowing their assaulter and not wanting to get them into trouble.
I agree with your beliefs on the trauma of sexual assault the immense difficulty victims have in not only coping with their horrific situation but moving on from it. However, I believe that the reporting of these incidents is an absolutely essential aspect not just of seeking justice for these crimes, but also as a means for the victim to find peace within themselves. In Women Talking, August serves as a vessel by which the women are able to report on and share their experiences with sexual assault at the colony. Despite August being powerless even as a man in the misogynistic society in which all the characters live, his presence and ability to write what the women think are essential for their collective healing process. The decision to leave the meeting minutes is the method by which the women report their assault, not to the corrupt justice system in which they live, but to each other and to the ones they love.
-Liam Hurwitz
Portraying a story about sexual assault is extremely difficult due to the complex feelings and situations surrounding it. In Sarah Polley’s narrative about being sexually assaulted, she expresses how complicated and scary it seems to come out about it. Her essay significantly impacted me, I believe this is because she told her story the way she wanted and when she wanted to. Therefore, the best fictional scheme to use when telling a story about sexual assault is to portray it as how the victim wants the story to be told which will inevitably have the biggest impact on its audience.
We are lying to ourselves if we choose to remain in a destructive relationship with a continually unrepentant and remorseless second party in the hopes they will change. The mental whiplash involved with staying silent can lead to something similar to Sarah Polley’s repressed memories, or even attempting to justify another party’s harmful actions. This inescapable distress leads one to question whether their own forgiveness is real or manipulated by external brainwashing and anxieties. Only from processing at a distance can we more objectively work on forgiveness that results in peace.
I agree that remaining engaged in a destructive relationship with an unrepentant and remorseless party is harmful and unproductive. However, I disagree that working on forgiveness and finding peace can only be processed at a distance. To me, distance means isolation. In this case, as a victim of assault, having support would be beneficial in working through the trauma. In this film, the women find strength and clarity through communal discussion and support, rather than isolation. Their shared experiences and conversations help them process their trauma and start the healing process. Forgiveness can be both a personal and collective journey, where victims can find peace and healing through understanding and solidarity with other women who have faced similar struggles.
I was really drawn to your comment as I disagree that finding peace and forgiveness can only happen at a distance. While this idea is appealing, true forgiveness and healing often occur through confrontation and understanding. I think leaving the colony felt like the only option to break the pattern of abuse since doing nothing or staying and fighting could cause further violence. Antje said at the beginning of the film that they didn't talk about their bodies, so there was always a gaping silence. Once there was an understanding of experiences, they were able to support one another, beginning to heal the damage that had been done. Leaving broke the pattern, but true forgiveness began in the loft.
While it’s true that staying in a destructive relationship with an remoreless partner is harmful, the idea that forgiveness and peace can only be achieved from a distance is debatable. The women in the Mennonite community in the film Women Talking (2022) confront their abusers directly, engaging in group discussions to process their trauma. This face-to-face confrontation and dialogue leads to a stronger sense of empowerment and better ideas in the women in the film. The film embodies the importance of community and direct action in healing. Sometimes forgiveness and peace can emerge from a collective resilience that the women have, rather than isolation and distance.
While I agree that staying in a destructive and abusive relationship should never be the case, I disagree with the statement that Women Talking portrays that this pain must only be processed from a distance. This film analyzes the complex mental challenges that the victims of sexual assault face, by showing us three different options of resolution proposed by the women. However, amongst these three decisions are the horrific stories and powerful emotions that are shared by the women. In the end, the lack of isolation from each other is what gives them the strength to finally leave the colony.
A narrative style chosen to comprehensively address sexual assault should describe the inevitable horror of assault and trials, the reality of injustice despite these trials, and the tumultuous healing journey that victims endure. I think that the redemptively grotesque narrative style fits best. Polley mirrors this style, describing the “jagged edges” of assault victims, as they cannot perfectly recall their abuse in a court of law, and the “fall” of Ghomeshi and Polley, herself, as reencounters her abuse. The “divine assist” may be found in the court, though it does not convict Ghomeshi, or in the community built by survivors and believers of their trauma.
Sarah Polley’s reaction to being assaulted is due to a variety of reasons such as timing, emotions, and how it would reflect others. I believe the film will reflect Sarah Polley’s assault in that it will be complicated and difficult to accept for some. If this is the case, then the film will gravitate towards a realistic narrative and not a narrative like romanticism that could unintentionally attach the film to the concept of fiction. It is important for stories like these to get complex in order to convey complex themes to the audience.
Sarah Polley discusses the internal battles she experienced when pondering whether to stay silent or come forward with her story. It is hard to believe that people would suggest not coming forward and standing up for what you believe is right especially regarding an issue as serious as rape or sexual assault. However, I have unfortunately experienced something similar when supporting a friend telling her story of sexual assault. I think that depicting the story of these harsh realities using various narrative styles is more impactful for the audience.
I believe that everyone copes differently, but generally there are typically two responses to trauma. Individuals can be categorized as either outspoken (how they internally manage it) or avoiding. When I mention "outspoken," I am referring to dealing with the trauma independently. For example, in Sarah Polley's film "Women Talking," we witness how each character copes with their trauma in their unique way. Each healing experience is individual as well. One scene that stood out for me is when Salome’s mother apologizes for influencing her daughter to forgive her abusive husband. Salome heals through her mothers apology.
Women Talking (2022) emphasizes diverse trauma responses that challenge the typical binary framework. The film shows the women in the colony dealing with the trauma they have experienced, and no one response is similar to another. Ona faces the incident with composure and optimism for future forgiveness. Salome shows rage and a need for immediate action. Mariche displays internal turmoil as she struggles with defiance and dread. These varying reactions all underscore how trauma may manifest as a spectrum of feelings and actions, depending on the individual’s personality and coping techniques. The film beautifully illustrates how the complicated human experience of dealing with extreme anguish is oversimplified when trauma reactions are seen as either vocal or avoidant.
Sarah Polly's film "Women Talking '' exposes viewers, head on, with the discomfort and gruesome conditions of the women of the colony. The film depicts the insecurity and fear of the women as they decide their abuse is unbearable and that something must be done. This insecurity is mostly rooted in religious control the men had over the women since they feared leaving would result in them not entering the kingdom of God. As a result, the women seek solutions that would not only protect them, but also preserve and even strengthen their faith. This "complex dance between competing viewpoints' ' emphasizes the grotesquely redemptive qualities of the narrative. The women often refer to Philippians 4:8 and ultimately use it to justify their leaving since staying will only put them "in a direct collision course with violence" which will hinder any forgiveness in the women's hearts (56:10). Ona's outlook on their leaving the colony is the ultimate act of love and compassion for the men since it will potentially allow the women to love and forgive them while concurrently being protected from them.
Women Talking depicts the turmoil through reflection of the tragic assaults each character has faced through the lens of faith. I agree faith is one factor in deciding to leave or stay in the colony, but I feel Sarah Polley highlights other important deciding impacts. The women would not only separate themselves from the colony, but separate their families which adds severe complexity to aspects of their morals and faith. They justify this however to prevent their daughter's exposure to the women’s traumatic experiences and remove their sons from this patriarchal culture. This movie emphasizes the importance of education to improve male understanding of sexuality, preventing further inflicted trauma on future generations of women. Sarah highlights this message through August's monologue about his male students.
While watching the film Woman Talking, it's challenging not to reflect on whether certain individuals actually deserve forgiveness. Forgiveness is an integral part of Christianity, as emphasized by Jesus Christ's teachings. This virtue is exemplified in the parable with the son who spends his inheritance from his father and is encapsulated in Ephesians 4:32: “Be kind and compassionate to one another, forgiving each other, just as in Christ God has forgiven you.” It’s hard to comprehend how the women in this film could ever willingly forgive the perpetrators, which contradicts Biblical teachings. The movie also explores the intricacies of forgiveness. The idea that forgiveness can be misconstrued as permission raises the question of whether forgiveness is warranted or justified in a scenario where harm will inevitably result.
Forgiveness is a complex, personal journey, not a religious obligation, and Women Talking profoundly illustrates this point. While I respect the significance of faith for all, imposing religious doctrine on survivors of trauma can be inappropriate and harmful. Christianity, like any belief system, offers diverse interpretations; while some may emphasize forgiveness, others prioritize justice and healing. True empathy means understanding that people heal differently, whether through faith, support from others, or their personal resilience. Ona's moving question - "Is forgiveness that's forced upon us true forgiveness?" - captures the film's exploration of this complex issue. Ultimately, the decision to forgive, if at all, rests solely with the survivors, who have no obligation to do so.
Sarah Powell's powerful story of sexual assault and her challenges is inspiring. Even braver than prevailing after the act, is sharing the story for others to read. As Powell documents, sexual assault, and the #MeToo movement are heavily stigmatized, giving extra challenge to sharing such a personal experience. The depiction of other people in your story, details included or left out, can significantly alter the reader/viewer's perception. Therefore, the narrative style one chooses to depict one's fictional or factual story is critical to send the proper message to the reader/viewer.
While I understand and agree with your statement about the challenges of sharing such a personal experience, I believe that Sarah Polley shared her story to highlight the collective experiences of the women and the systemic abuse in their community. She demonstrates different emotional and physical responses to the trauma of sexual assault, as well as the power of a supportive community with shared experiences. Polley includes certain details in her story to demonstrate the gravity of the situation, including the love story between Ona and August. Despite her love for August, Ona understands that the women cannot stay in the colony and continue to face abuse and oppression. The urgent need for the women to leave outweighs Ona’s desire to be with August.
I think there is no single most appropriate fictional schema for a film like this and think that it is powerful how Sarah Polley incorporated aspects of multiple schemas to showcase the varying perspectives. A gothic romance could lead viewers to view rapists as scary villains that could not be unbeknownst members of their community which is not the case. A realistic drama would probably avoid this, but have an upsetting ending. A redemptively grotesque narrative allows for the most nuance. There are so many survivors of sexual assault who these stories can be empowering or triggering for.
Sexual trauma is an experience that more people share than we realize. There can be many motivations against speaking out against an abuser, with one of the most common being that they are in a position of power over you. The Mennonite men had this same power over them women that they hurt and gaslit them into believing Satan was involved. The unfortunate truth is that the idea of entering a social battle against your abuser is intimidating and leads people to not want to speak out. Polley uses her film to encourage others to fight their abuse.
The intimidations of speaking out against an abuser can be paralyzing especially when the abuser is the authority. The women are definitely challenged on how to address the situation. However, I think the film more so tries to convey the significance of resisting abuse not fighting it. The ongoing debate amongst the women is fight or leave, both resisting the abuse. I think it is significant to make this distinction because fighting may not always be the solution. Sometimes removing oneself from an environment is more productive than trying to fix the issue present. I do agree it is necessary to resist abuse there are more options than taking it head on.
Few people understand what it is like to be a victim of sexual assault. Along with the financial and legal troubles, the physical and emotional scars they suffer make it difficult to present their stories. Depicting these stories through literary and cinematic means can help the viewer understand the seriousness of the situation. Even fictional stories about sexual crimes are excruciating to write, especially if the writer is a victim. Sarah Polley is brave to make films about subjects of that nature, especially given her own personal experiences.
Realism is the storytelling mode that is favored in the film, as it depicts the harsh realities of sexual assault in a truthful and accurate way. Suffering is a daily reality for these women. They cope with the pain of sexual assault in different ways, such as silence, prayer and anger. The film questions the meaning of forgiveness after such violent acts have been committed. Gender relations are depicted as a source of tension and conflict.
I agree that realism is abundant in the film, specifically seen through the raw emotions displayed by the women. This mode is also directly expressed by Ona when she describes the frustrating nature of their colony; its founding principles are exactly what has categorized the men and women into their current societal positions. However, I think this film falls more into alignment with Dr. M’s narrative form of the redemptively grotesque. The aspects of this mode are displayed passionately and blatantly. Each woman’s emotionally broken state and consistent prayer to God throughout the film, as well as Mariche’s pain-induced lashes at others, all support the necessary components of this narrative style.
Choosing the correct narrative to encompass a story centered around such a horrible event such as sexual assault would nonetheless be an extremely important task. Sarah Polley's treatment of her own sexual assault, her repression, and her storytelling of it in her works represent how the process can be a double-edged sword There will be cries for justice and reparations for the ones that are dealt this serious assault against them, but pressing charges, healing, re-experiencing trauma for the sake of retribution must be its own fight in itself. Choosing a narrative that accurately reflects the victim's feelings and whatever course they want to take regarding treatment, to me, at least gives the victim the choice they were so cruelly denied when sexually assaulted.
When faced with the truth about heinous acts of sexual violence committed by a well-known man, Polley references many people’s reactions as confused and disbelieving, questioning things like the women’s timing coming forward. Unfortunately, as I scroll through other comments on this video I am not assured that the commenters wouldn’t have the same reaction in a similar situation. Most men do not seem to realize how common sexual violence is, which is why women sharing their stories is monumental in increasing awareness. However, these attitudes which are stuck in disbelief make it clear why many women choose not to.
I believe that although men victim-blaming women was once common, movies like "Women Talking" are helping to change that narrative. During the #MeToo movement and throughout history many women have been ostracized for coming forward with their stories. However, films like this one highlight the wrongdoing of those who question or doubt the credibility of victims. Media created by women with strong, empowering messages can inspire victims to come forward and help those who doubt them realize the error of their ways. Films like this one play a significant role in shifting societal attitudes, challenging long-standing prejudices, and fostering a more supportive environment for victims to come forward on their own timeline.
While I agree that many men are unaware of the extent of sexual violence, I don’t think denial and confusion of such acts in a religious setting is a gender-specific issue. Members of my own family have gone through a similar phase of disbelief. My grandma and grandpa, from the UK, were members of a cult called the Plymouth Brethren. There was a major sexual abuse scandal in the 1960s and they decided to leave, losing contact with most friends and family. My grandma’s sisters refused to believe the scandal and never spoke to her again. They strike me as similar to Scarface Janz. Religious fanaticism can lead to Stockholm syndrome and rip families apart, it is far more sinister than ignorance or skepticism.
To me the horrific acts that were committed by the men of this Mettonite community are unforgivable. As a brother of three sisters, I wouldn't be able to stand by and watch them endure the trauma induced by their attackers until they are held accountable by either death or life in prison. It may be contrary to Christian belief, but I believe that some acts just cannot be forgiven here on earth. Acts such as murdering the innocent and harming the defenseless cannot be justified besides pure brutality. Though it is a long road to commit these acts and societal influence has an impact, I still believe that the gut feeling to turn away is always there, so I put the blame mostly on the individual for such demonic acts. Forgiveness may have to come in the presence of God in another life.
Your perspective on the unforgivable nature of the acts committed in the Mennonite community is understandable, especially given your profound personal connection as a brother to three sisters. However, I do not agree with your perspective as I am a believer in the saying, “forgive but never forget.” I believe that forgiveness can be a powerful tool for healing and liberation. The women in Women Talking explore the possibility of forgiveness, allowing them to reclaim their agency and break free from the cycle of violence. With the choice of forgiving, the women are able to focus on rebuilding their lives and preventing future harm, while still acknowledging and remembering the severity of the wrongs committed against them.
I can completely understand your point of view. As a brother to a younger sister, I too would be enraged if anything this traumatic happened to her. However, I disagree with you that some acts are unforgivable. I believe no human is born evil. They are instead taught it or never trained to be good. For the men in this film, they were not born with the idea to sedate and rape women. They were brainwashed to think it commonplace. I do not think the gut instinct to turn away is always there if it was never taught to start. While it is difficult, taking a stance of understanding before anger can give better insight into why people commit unthinkable acts.
I disagree with your statement that some acts cannot be forgiven. I think all crimes/infractions committed are the result of some flaw in human nature, whether it's greed, selfishness, or pride. Therefore, it doesn't seem reasonable to condemn someone as unforgivable since we all have our own flaws and infractions we've committed against each other. Furthermore, the gravity of the infraction can depend on many factors, making it difficult it label any one crime as unjustifiable. Failing to forgive allows the offender to occupy a space in your mind because you hold a grudge against that person. This can grow into prejudice and be harmful to society.
Just to be clear, the community did not brainwash these men. They were a minority, and the majority were publicly opposed to their assaults. The leaders' fault lay in minimizing the ramifications of these horrible acts, and trying to force these women to publicly forgive their attackers.
It breaks my heart to know how many women suffer from sexual assault every year. Equally disheartening is the fact that most of those women will never see the hammer of justice swung upon their perpetrators. Our legal system fails these women. Its reliance on subjective people to provide objective accounts, without faltering, seems fundamentally flawed. Why must we retraumatize and publicly tear apart the victim to condemn the assailant? If a victim is willing to testify in court, then the perpetrator should - at a minimum - be forced to also testify in court, under penalty of perjury.
I believe your observation regarding our legal systems reliance on the objectivity of absolutely subjective people is correct, I do not believe your conclusion follows from this evidence. I believe the stronger argument is that the failure of our legal system to provide justice stems from faults in our societal beliefs. Taking the legal system assumes the objectivity of testimony and it's subsequent interpretation to reach an objective decision as true, claiming the assumption of objectivity is incorrect implies subjectivity in the outcome. Therefore, it is the subjective viewpoints of the prosecution leading to the disappointing outcomes, while the re-traumatizing of victims stems instead from the long-standing pillar of "innocent until proven guilty" resulting in the burden of proof falling upon the victim.
Realistic drama would be an appropriate lens to depict the story of the eight men from a Mennonite colony in Bolivia who committed atrocities and the leaders who protected them. Through a realistic drama view, the narrative could be focused on how an “illiterate, subservient, gendered working class” was created (Marchbanks). The dangers of such a class are obvious, but depicting how everyday interactions perpetuate the power imbalance would invoke the audience to examine their own society.
Rarely do women have the ability to speak intimately about their rights, or have the empowerment to enact agency on their decision. In Woman Talking, the women converse about a subject found central to the Bible: forgiveness, specifically, the forgiveness of rape, the most despicable act of mental and physical domination over a woman. Although the Bible conveys the importance of forgiveness, rape poses a difficult question for women as it tests the limits of their faith. This heinous act is ultimately unforgivable, providing a possibility that some things do not deserve forgiveness in the eyes of God.
I disagree with the idea of rape not being forgivable. The women are true testaments of this because they choose to leave in order to have enough distance to be able to forgive. Ona already loves her unborn child even though it came about from rape. The women never fully stray from the idea of forgiveness because of how strong their faith is. Though they do not want to stay and forgive the men right away because it’s being forced upon them, they still ultimately want to be able to forgive one day, just at a distance. They even talk about coming back one day or letting the men rejoin their future colony one day.