Based upon the book by Miriam Toews and screenplay by Sarah Polley and directed by Polley, the Women Talking took place in 2010. The women of an isolated religious community grapple with reconciling their reality with their faith.
According to Polley, the women disagree on essential things and have a conversation to figure out how they might move forward together to build a better world for themselves and their children.
“Though the backstory behind the events in Women Talking is violent, the film is not. We never see the violence that the women have experienced. We see only short glimpses of the aftermath. Instead, we watch a community of women come together as they must decide, in a very short space of time, what their collective response will be.
“When I read Miriam Toews’ book, it sunk deep into me, raising questions and thoughts about the world I live in that I had never articulated. Questions about forgiveness, faith, systems of power, trauma, healing, culpability, community, and self-determination. It also left me bewilderingly hopeful.”
Toews’s book was The New York Times book of the year, so naturally, it should become a film. However, according to producer Dede Gardner from Plan B, Brad Pitt’s production studio, the film departs from the book on many levels.
From the book to the screen, the movie became much bigger. “The book is extraordinary and full of life and humor and wickedness and pithiness,” Gardner said. “Yet, two families of women in a hayloft making a decision for the duration is not an obvious idea for a film. At the same time, I could see its cinematic structure. The thing that the book and the movie really share is that despite all the things that they discuss, there’s a real sense of movement and a victory at the end of it.”
Directed by the elusively funny Wes Anderson, The French Dispatch is a love letter to journalists set in an outpost of an American newspaper in a fictional 20th-century French city that brings to life a collection of stories published in “The French Dispatch” magazine.
The cast is an A-list of Hollywood superstars, including Saoirse Ronan, Timothée Chalamet, Elisabeth Moss, Billy Murray, Owen Wilson, Edward Norton, Willem Dafoe, Tilda Swinton, Liev Schreiber, Frances McDormand, Adrien Brody and Benicio Del Toro.
According to IMDB, The New Yorker reported a piece that outlines some characters, subjects, and situations described in this movie, along with the corresponding The New Yorker articles, themes, and writers that Wes Anderson references. These include:
Arthur Howitzer Jr., played by Bill Murray, inspired by the New Yorker’s founding editor Harold Ross.
Herbsaint Sazerac, played by Owen Wilson, inspired by the writer Joseph Mitchell
Julian Cadazio, played by Adrien Brody, inspired by Lord Duveen, the subject of a 1951 six-part New Yorker profile by S. N. Behrman
Roebuck Wright, played by Jeffrey Wright, inspired by James Baldwin and A. J. Liebling, who were both New Yorker contributors over the years.
Lucinda Krementz, played by Frances McDormand, inspired by Mavis Gallant, She wrote a two-part 1968 piece on the student uprisings in France. This character also shares a last name with Jill Krementz, a photographer whose work has often appeared in the New Yorker and is the widow of the novelist Kurt Vonnegut.
The New Yorker also reported in the same piece that the movie takes place in a fictional French town called “Ennui-sur-Blasé.” “Ennui” and “blasé” are both English words, albeit both terms originate from the French, which means roughly the same thing: world-weary boredom, apathy, and sophistication. It is relatively common for French place names to contain the word “sur” (“on”) between two other words as a geographic descriptor. for example, the French Riviera village name “Beaulieu-sur-Mer” translates as “beautiful place on the sea.” So if it were a real place name, “Ennui-sur-Blasé” would mean, more or less, “Boredom-on-Apathy.”
For Anderson, the filmmaking process is 100% organic from start to finish. That begins with the writing. “It’s a real adventure to work on these things,” says longtime collaborator Jason Schwartzman, who co-wrote the story with Anderson and Roman Coppola and plays the role of the magazine’s cartoonist. “The stories are sort of concocted in real-time. There’s not some big outline or something that you’re filling in. You’re literally creating each moment as you get to it. It’s sort of like building a bridge while you’re on the bridge, and that’s what’s really exciting. When you wake up in the morning, you really have no idea what could happen to the story, to the characters, and that is such an exciting place to be. It’s free form but focused, and Wes is the captain of the ship.”
So funny!
The official name of the New Yorker-inspired magazine is The French Dispatch of the Liberty, Kansas Evening Sun, a publication inspired by the history of The New Yorker and the origins of two of the people who made it what it is: Harold Ross, the magazine’s co-founder, and William Shawn, his successor, both inspirations for Bill Murray’s character and both born in the Midwest. “Kansas seems to me like the most American place in America,” says Anderson. “I mean, really, in the end, The French Dispatch isn’t publishing for the people of Kansas. They’re publishing for America.”
Creating the story’s striking still-life passages, Anderson actually asked the actors to freeze in place. “It’s a game I play with my daughter,” says del Toro, “it’s probably one of the earliest things that I remember playing as a kid, and suddenly… we’re doing it, every actor from Tilda Swinton to Henry Winkler, all these legends, all playing the game. And it’s contagious. It’s really nice to see actors going back to their childhood and playing, Simon Says. There’s something very freeing about it. And I felt like it added to the film in another way. Wes could have frozen the action digitally, but there’s something about the actors actually freezing that makes it… you can feel it, you can touch it, and the audience can feel the joy behind it.”
See if you can catch every single actor in this movie.
Directed by Martin McDonagh, Three Billboards Outside Ebbing, Missouriis a dark comedy that follow Mildred Hays, played by Frances McDormand, who after months have passed without a culprit in her daughter’s murder case, makes a bold move, commissioning three signs leading into her town with a controversial message directed at William Willoughby, played by Woody Harrelson. Apparently, Willoughby is the town’s revered chief of police but it such doesn’t look like it in the trailer.
When Willoughby’s second-in-command Officer Dixon, played by Sam Rockwell, an immature mother’s boy with a penchant for violence, gets involved, the battle between Mildred and Ebbing’s law enforcement is only exacerbated.
This is a great interview about an actor’s process of being the character.
The trailer is hilarious and fun to watch, but I still feel Hays’ pain of losing her daughter without the police doing anything about her murder.
The story begins with Mildred Hayes and the three billboards she rents on Drinkwater Road. “I decided the buyer of the billboards was an aggrieved mother and from there, things almost wrote themselves,” McDonagh recalls. “Mildred was someone strong, determined and raging, yet also broken inside. That was the germination of the story.”
Frances McDormand is exceptional to watch in the trailer and clip as a modern, female variant of the classic western hero in a showdown-style performance. “I really latched onto John Wayne in a big way as my physical idea, because I really had no female physical icons to go off of for Mildred,” she explains. “She is more in the tradition of the Spaghetti Western’s mystery man, who comes walking down the center of the street, guns drawn, and blows everybody away — although I think it’s important that the only weapons Mildred ever uses are her wits and a Molotov cocktail.”
“I could see it in her walk and her attitude,” says McDonagh. “I think John Wayne did become a touchstone to a degree for Frances. But I also see Brando and Montgomery Clift in there, too.”
Here is a featurette describing McDonagh’s work.
I saw the movie last night. It is well-written, but the ending is not uplifting. I wanted the characters to find and closer.
My daughter found an article about how the movie is based on a real-life incident of a grieving father “advertising” on three billboards about how the Vidor, Texas police botched their investigation into her murder.
