ScreenFish

where faith and film are intertwined

Jessie Buckley

Women Talking: Monsters and Mennonites

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In Women Talking, eight women who have suffered abuse within their Mennonite community gather to discuss whether to fight back, leave, or to stay and do nothing. The film is based on the book of the same name by Miriam Toews, who herself grew up in a Mennonite community, and was adapted for the screen by Sarah Polley.

Personally, I found the film to be beautiful, nuanced and graciously sensitive in a way that I think a lot of our general conversations—especially online—are not. All the women have each suffered some form of abuse and have different responses to it, opening the floor to a debate of sorts. However, the end objective for all parties is the same and the sisters gather round each other for support. I love that the story doesn’t just acknowledge that terrible things are happening but asks how it can be made better.

Women Talking sheds light on several things: how difficult it can be for people in abusive relationships to leave, especially those dependent on their abusers; what allyship looks like (shoutout to August Epp); pacifism vs revenge; if abusers are products of their environments and therefore themselves victims; forgiveness + what it looks like; and, in this case, the fear of eternal damnation if the victim is not as quick enough to forgive the abuser as God would like.

The story of these women is more heart-breaking because it is based on a situation in a Mennonite colony that actually took place. Sadly, we’re no strangers to seeing people who profess to be people of God commit horrible acts- sometimes in His name. A lot of us who grew up in/belong to the church have had a hard time freeing ourselves from the crushing weight of guilt that we feel when we’re finding it hard to be as perfect as we think the all-powerful being who can see every single one of our thoughts needs us to be. We’ve seen people endure repeated heartbreak, pain, and abuse because they think ‘this is what God expects of me’ prompting others to ask, “Why do the victims have to be the bigger people?” I know, being a black woman who’s good at ignoring hurt and just doing what she’s told, how annoying it can be to hear “Wow! You’re so strong.”

I really believe—and this should go without saying, but I find myself having to repeat it a lot—that people who have any form of authority/power in a situation are obligated to care for those with less. I think that’s a responsibility that comes with in any position of power but especially for those who claim to be people of faith.

In Women Talking, the women (and Toews and Polley) challenge that misuse of power, that notion of God and that idea of forgiveness. The film demands that we decide what we want the world and ourselves to be, and that we set ourselves on that course, hopefully alongside a community of people who want the same thing.

Women Talking is playing in theatres on Friday, December 23rd, 2022.

Men: Trapped in Man’s World

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Men may begin as a quiet trip to the country… but it is no vacation.

Directed by Alex Garland, Men tells the story of Harper (Jessie Buckley), a young women left grief-stricken after the sudden and shocking death of her husband. In an attempt to heal, Harper retreats alone to the English countryside, renting a small estate where she can be alone. After meeting the quirky groundskeeper (Rory Kinnear), she settles in for some peace and quiet. Although, when someone follows her home after a morning walk, her time of solitude begins to unravel as she looks to escape her mysterious stalker (or, potentially, stalkers) before its too late.

As is often the case with Garland’s work, the film is visually stunning from start to finish. By taking painstaking detail in his cinematography, Garland ensure that every shot is rife with metaphorical significance. Anchored by slow camera pans, Garland wants the viewer to sit within his imagery with a reflective glare. Bold red colours that bleed across the screen augment the pervasive darkness within its characters. The harsh lines of the estate contain Harper in a prison of tradition and the ‘old ways’. Frankly, there’s very few frames that are visually wasted in this storytelling.

Infusing her performance with an inner strength, star Jessie Buckley does an excellent job portraying the combination of grief and courage necessary for her character’s evolution. However, despite some solid work from Buckley, it’s Kinnear’s wild performance(s) that may be most notable within the film. Playing almost every male role, Kinnear brings life to his villainous men, disappearing into each persona. From the toxic shame of a priest to the ignorance of the police, each character he creates is fueled by their own quirks and characteristics that makes them entirely unique.

Admittedly, it’s worth noting that Men is not for the squeamish. Known for films like Ex Machina and Annihilation, Garland has made a name for himself with his visual creativity. In Men, however, he truly unleashes his inner brutality, especially in the film’s final sequence. Beginning as fairly standard (but well-executed) terror, the film gradually devolves into the madness of body horror that would make Cronenberg proud. However, despite featuring arguably some of the more graphic images we’ve seen onscreen in recent years, Men never loses sight of its metaphor. As a result, even the most disturbing sights feel earned as the film leans into its conversations about the poisonous nature of masculinity.

Much like Eve’s bite of the proverbial fruit in the Garden of Eden, so too does the film emphasize the shame placed upon women in order to preserve the male ego. At every turn, the film looks to find a reason to share the blame as opposed to admitting any form of guilt. Whether it is the accusations of her husband or the absurd counsel of a broken priest, Harper is constantly blamed for the problems of men. Though Harper’s grief weighs heavily upon her soul, her suffering is not heard. Instead, at every turn, her feelings are belittled by men who consistently look for ways to explain away their own transgressions by placing responsibility on others (or, more specifically, women). 

Though she bears no guilt, she is made to believe that she does.

As Men unravels further, it becomes clear that it’s not about one or two problematic men but rather the toxicity of an entirely male culture. By using Kinnear in multiple roles, Garland highlights the fact that all men suffer from the same flaws. From laying on shame to outright abusiveness, these characters have created a culture of brutality, male power and arrogance that is passed down from generation to generation. (Incidentally, it’s possible that this is why the film is titled Men. Written by a man, this is an as much an exploration of what is wrong with the male gender as it is about women’s responsiveness into it.)

As is often the case within Garland’s work, the film’s finale remains open for interpretation. Without giving any spoilers, this seems like a genuine inquiry as to what it is going to take to end the cycle of masculine toxicity. Although the film lands on a moment of optimism, Men is unafraid to sit in the darkness. But what does hope look like when the surrounding culture seems unaware of the depth of its issues? While Garland gives no clear response, Men demands that the viewer look for answers.

Men is available in theatres on Friday, May 20th, 2022.

The Courier: Small Acts, Big Impact

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Directed by Dominic Cooke, The Courier tells the little-known (but true) story of Greville Wynne (Benedict Cumberbatch), a 1960s British businessman who thoroughly enjoys his role as a husband and father. However, his life is suddenly turned upside down when he is approached by the CIA and MI6 in order to help penetrate the Soviet nuclear programme. The plan is simple. Pose as a partner of Russian business associate Oleg Penkovsky (Merab Ninidze) and transport any intelligence that Penkovsky can uncover regarding the Soviet missiles that are being transported to Cuba. However, as the Soviets close in on their operation, both men are forced to make decisions that potentially threaten their family and their lives.

Stylish and sleek, The Courier has the look and feel of other classic espionage thrillers such as Tinker, Tailor, Soldier, Spy or Bridge of Spies. Blanketed with a bleached colour palette and armed with a solid script, the film does an excellent job of transporting the viewer to an era that truly left a mark on world history. Interestingly, while Courier plants the viewer in the midst of one of the most intense global moments in recent history, it’s the relationships that drive the narrative. Though set in the midst of the Cuban Missile Crisis, Cooke is far more interested in how these extreme circumstances affect the people on an interpersonal level. In doing so, Courier feels more relatable as it recognizes the stress that these circumstances would have had on families and friendships in addition to their potential global ramifications.

What’s more, the film features some truly remarkable performances from its cast. Though rising star Jessie Buckley and Rachel Brosnahan provide solid work here in their respective roles, it’s Cumberbatch and Nindze that shine most brightly among the stars. Anchoring the film with their genuine concern for one another, Nindze and Cumberbatch provide the emotional core of The Courier and help set it apart from other examples in the genre.

Playing the character with doe-eyed innocence, Cumberbatch brings an incorruptibility and charm to everyman Wynne that still allows him to be a credible resource to the government. However, it’s the film’s final third that truly pushes his performance. Captured and tortured by Russian officials, Cumberbatch shows his commitment to the role and truly deserves recognition for his focus and presence. At the same time, Nindze almost steals the film with an incredible performance as Penkovsky. Caught between devotion to his country and his desire to preserve human life, Nindze plays his character with a complex blend of strength and human compassion as he masks his concerns behind a steel grin. 

The interesting thing about Courier is that, though the film takes place over 50 years ago, its sense of urgency behind global politics and tension still feels current. (In some ways, if one were to substitute the film’s use of spy cameras with internet hacking, it would feel as though it were taking place today.) In the midst of constantly shifting global relationships and the tensions that creates, the impact of people’s contributions and voices continue to leave their mark on the world.

With this in mind, The Courier highlights the value of the small acts in overwhelming circumstances. For example, despite the results of their actions, Wynne and Penkovsky never do anything ‘wild’. The anti-thesis of James Bond, their actions appear small by comparison. There are no car chases or gunfire. However, the courage shown by Penkovsky and Wynne and their willingness to do what’s right sends waves that turn the tide of history. Their commitment to both their families and world peace drives them to take risks to affect change that only they can do. 

While their actions may seem small, the results affected everyone.

With patience and heart, The Courier is well worth your time. Director Cooke weaves a truly fascinating web of intrigue that shines light on a story that many of us have never heard before. For Penkovsky and Wynne, these moments changed their lives. Thankfully though, The Courier also does a great job of showing how their actions also changed the world.

To hear our conversation with director Dominic Cooke, click here.

The Courier is available on VOD on Friday, April 16th, 2021.

TIFF17: Beast

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To stream audio of my interview with Jessie Buckley and Michael Pearce, click here.

Director Michael Pearce brings us Beast, a pseudo ‘whodunit’, focusing mainly on the dark leading lady known as Moll (Jessie Buckley).

This chilling and often uncomfortable tale is set on the British Channel Island of Jersey, a stunning backdrop that is metaphorically stained by numerous unsolved rapes and murders.

The cinematography paints stunning color blocking from the first few seconds of the film and continues this until the final scene. The vibrant green of the mountains, blue of the ocean, and Moll’s striking red hair. This tale juxtaposes the beautiful island with its unsuspecting underbelly. The director and cinematographer were not afraid to pull emotion from the landscape, but didn’t force it if it didn’t cooperate. This brought a welcomed sense of realism to the film.

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A woman of few words, Moll presents a seemingly innocent and somewhat sheltered girl. Clearly the black sheep in her family, we see Moll’s struggle to come to terms with her dark past. Their words and actions prove that Moll’s family do not consider her as equal.

Moll’s troubling and violent past seems to continue to manifest itself in her current life. Despite the urge to resolve and grow, Moll is being held back by her overbearing family, unforgiving victim, and struggles inside of her own head. We come to witness bouts of rage and violence. This, coupled with Moll’s past revelations, begin to make the audience wonder if this seemingly simple tour guide and choir singer is perhaps the most violent murderer on the island.

After an aggressive suitor almost attacks Moll, she is rescued by a passerby, Pascal. As we see Moll’s relationship with Pascal grow, we see that perhaps she is not only attracted to him because he saved her, but because she can finally be herself around him. No judgement. No knowledge of her past. They both have their quirks and are both accepting of each other.

Moll is a sad reminder of how our past can hold us captive and deny us the ability to grow and move forward. Moll desperately wants to crawl out of the hole that she feels so stuck in, but is constantly being pulled back in by her environment.

The one and only voice-over in the film discusses the majestic killer whale. When glazed over, this monologue may seem random, but the similarities between Moll and orca are nothing short of mind-blowing. Both feral creatures, they are brilliant yet often completely misunderstood. Both fairly undomesticated, they should not and will not be held captive. And they are both capable of horrific and frightening things. Hence, then, the title, Beast.

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