In her new film “Women Talking,” Sarah Polley aims to illustrate a wide range of responses to trauma—anger, resignation, total collapse—and to capture the strange way that traumatized women can lash out at other women.
Polley’s early experiences—and the financial autonomy that her success as a child granted—meant that, even as a very young adult, she was able to establish the parameters within which she was willing to work. “You try to do good projects, and you collaborate with interesting people, and you never embark upon trying to sell yourself, or pitch yourself, or get somewhere,” she told me, in 2011. She has not changed her tune.
The cast of “Women Talking” necessarily included a number of children—they play the offspring of the colony, whose fate the women are deciding along with their own. Despite the qualms that Polley has about kids acting professionally, she cast her two older children as extras: the production’sprecautions were so strict that they would not otherwise have been allowed to visit her on set. “Having kids there gave me no end of stress!” Polley told me.
The decision to have a female narrator came very late in the process, Polley explained to me. “When Ben and I originally talked about the part, he asked, ‘Are you sure you want a man narrating this film?’ ” she recalled, stirring a cup of mint tea in a café not far from her home. “And I said, ‘Yeah, it works beautifully.’ I recorded it with Ben, and it was as beautiful as you can imagine.” But, when Polley began editing the film, she felt that something was off.
Writing Autje’s story was intense and revelatory for Polley. “I don’t think I’d ever really gone into how you’re processing something when you’re sixteen and you’ve had something really terrible happen to you,” she said. “Some of the things that happened to me when I was sixteen I have detailed in the book—and some I haven’t talked about, and probably never will.” She thought for a moment. “When I was sixteen, where I went was into a very philosophical space,” she said.
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