Women Talking Dirty 1999

The film begins in the year 2010, with a harrowing scene that immediately sets a serious and emotional tone. Ona, played by Rooney Mara, wakes up to find her thighs bruised and bleeding, a clear sign of recent assault. The story reveals that she lives in a Mennonite colony where a disturbing truth has recently come to light: the men in the community have been secretly drugging the women with cow tranquilizers, enabling years of abuse, assault, and mistreatment. This revelation sparks a profound crisis among the women, who must confront their reality and decide how to respond.

The narrative introduces Salome, portrayed by Claire Foy, who fiercely fights back against their oppressors by attacking one of the men with a scythe. Her brave act leads to the arrest of the perpetrators, who are taken to a nearby city. The men promise to return in two days to deliver an ultimatum to the women: forgive them and stay in the colony or leave and face the prospect of being denied entry into the kingdom of Heaven. This ultimatum forces the women into a tense and emotionally charged decision-making process.

A crucial scene involves the women holding a vote, which results in two primary options—either to forgive and stay or to leave the colony altogether. Nine of the women—including Ona, Salome, Mariche, Agata, Mejal, Autje, Nietje, Greta, and Scarface Janz—gather in a hayloft to discuss and weigh their choices. They also include August, a former member of the colony, who has returned as their census taker. August, played by Ben Whishaw, harbors romantic feelings for Ona, which adds a layer of personal complexity to his role as they debate their future.

Within this group, their differing perspectives become evident. Ona suggests the possibility of staying in the colony and establishing new rules to promote better treatment, education, and religious practices—hoping to rebuild from the trauma. She envisions a future where women might have more control and where the community could reform itself. However, this idealistic idea is met with skepticism by Mariche and Greta. Mariche dismisses the plan as a dream and believes forgiveness is the best course, emphasizing the need to reconcile with their past. Meanwhile, debates emerge over how culpable the men truly are—were they mere collaborators or active perpetrators? The question remains ambiguous and adds to the moral complexity of the situation.

The film deepens its emotional impact with scenes of reflection and observation. Salome’s daughter, Miep, symbolizing innocence and vulnerability, complains of pain after her recent attack, while Salome comforts her, singing hymns that underscore the enduring faith of the women. The community faces external pressures, such as a van passing by, playing “Daydream Believer” to count the women for the census, highlighting the constant presence of an outside world that remains distant yet intrusive. Klaas, Mariche’s husband, is returning to collect more bail money, representing the ongoing threat and control exerted over the women.

As discussions continue, the women grapple with the emotional and practical implications of leaving or staying. August privately confesses his affection for Ona and offers to care for her and her child, but Ona, uncertain and cautious, declines marriage, worried about her child’s future if they remain within the colony. Despite the serious considerations, the women are aware they do not have a clear destination outside their community, but with the help of a map shared by August, some begin to entertain the possibility of escape.

The consensus shifts toward leaving, but not without emotional turmoil. The women recognize the challenge of abandoning members of their community—brothers and teenage sons—yet also feel driven by a desire for safety and dignity. Greta shares a story about her horses, Ruth and Cheryl, illustrating how focusing on the path ahead can restore a sense of security. Meanwhile, Mariche remains resolute in her refusal to leave and even lashes out at Ona, calling her a “whore,” a bitter reflection of her inner conflict. Her son Julius, who finds a cherry pit lodged in his nose, unknowingly influences her decision with a humorous yet poignant reminder of the innocence and responsibility the children represent.

On the final night before departure, the women gather their belongings and prepare for the escape, with August offering guidance on navigating with the North Star. The morning arrives, and they assemble in the hayloft for one last time. Mariche arrives with injuries, claiming they are from a drunken Klaas, who had caught Autje, his and Mariche’s daughter, sneaking in late. Tensions escalate as the women ready themselves to leave, knowing the risks involved in disobeying the colony’s authority.

In a deeply emotional climax, Salome musters the courage to take tools and weapons for defense, while August, overwhelmed with emotion, gives Ona a map and a heartfelt farewell. The community pulls away from their old life, riding carriages out of the colony, symbolizing hope, escape, and the possibility of a new beginning. The final scene shifts to a narration by Autje—who is seen telling the story to Ona’s baby—promising that the child’s story will be vastly different from theirs, filled with hope and change.

Throughout the film, themes of oppression, faith, resilience, and the quest for freedom are explored with nuance and depth. The characters’ journeys illustrate the complex moral landscape faced by those who endure systematic abuse and seek liberation, whether physical, spiritual, or emotional. The movie ultimately paints a powerful portrait of women’s agency and the courage needed to break free from cycles of silence and control, fostering a message of hope for future generations.