Stories We Tell

Sarah Polley’s touching and slightly experimental documentary about her family.

“Stories We Tell” is a groundbreaking documentary tackling the most familiar of subjects: your own family. It’s Director Sarah Polley’s (“Away From Her,” “Take This Waltz”) own account of her family’s life story along with the accounts from each of her family members, but she weaves a story that feels universal. What’s daring and so intellectual about it is hidden deep into the film after it has wrapped you in its warm family embrace.

“Who the fuck cares about our stupid family,” asks one of Polley’s sisters as she sits down in front of the camera. Polley tells the story, “the whole story, in your own words,” of her mother Diane from the perspective of everyone living who was directly involved in her life. And while we quickly get to know Diane as a charming, life-of-the-party type woman from the memories of her family and friends and from archive, home movie footage, Polley is smart to make us think about her sister’s question.

What the whole family realizes after some time however is that no one perspective is the “truth,” and when Polley picks and chooses the details that don’t conflict, the ones that tell a good story and show the Diane that she wants to remember, the narrative she edits together is less a reflection of any truth we’d like it to be.

If this sounds like profound homework, it’s not. Polley devotes time to her father Michael to narrate a long autobiography of his life with Diane. Together with the family on camera, they talk of falling in love, sex, the highs and lows of home life, personal secrets and the dark, often sad state of their marriage. Diane died of cancer when Polley, the youngest of all the family’s siblings by over a decade, was just a child.

Over time however, Polley uncovered a strange story that for years was just a running joke in her family. Ever since Sarah was born, there were murmurs that Diane had an affair when she went off and acted in a play in Montreal. At times there was question of whether an abortion was in order, or if she might have another father due to her red hair, but as Diane got ill, any rumors were just water under the bridge. Continue reading “Stories We Tell”

Take This Waltz

We applaud when women in the movies are strong, self-assured and dealing with problems the best they can. But they can’t all be headstrong and confident. Surely some of them are immature and even destructive.

Sarah Polley’s “Take This Waltz” is an admirable attempt to paint such a woman, but its ideas feel vague and uncertain, and its lead character Margo feels strange and unbelievable, even with one of today’s best and most relatable actresses at the helm, Michelle Williams.

We meet Margo on a plane ride home after a business trip, where she’s just met a handsome, but somehow cocky guy named Daniel (Luke Kirby). They talk on the plane and share a cab, and it turns out he lives quite literally across the street from Margo. This is already too good to be true, so as she’s about to leave the cab, she says, “I’m married.” This is the sort of thing you say when you’ve at least thought of sleeping with someone, but it goes against your better judgment.

And it’s a good thing, because Margo is in a fairly happy marriage with the loveable Lou, played by the equally loveable Seth Rogen. The two whisper abusive sweet nothings to one another in bed for fun (“I’m going to skin you alive with a potato peeler,” “I bought a melon baller and want to gauge your eyes out”), which is weird. They seem happy, but without warning she’ll become distant to his games, and of course she hasn’t stopped flirting with that guy across the street (he’s got some violent imagery played off as romantic too).

Margo’s problem is oddly specific. It’s a fear of being afraid. She doesn’t like to “be in-between things.” It takes her the whole movie to figure out that not all of life is full of action, which is fine, but the number of problems caused in her life because of this insecurity makes you wonder if Margo is really just unhealthy. Daniel annoys her at times, but she can’t tell him to screw off, nor just screw him. She won’t address the problems with her husband, but she won’t leave him either.

What does she want? I don’t think she knows. Maybe that’s intentional, but for a while it doesn’t seem like the movie knows either, and for how much we like Lou, audiences may get uncomfortable at Polley over-stylizing these moments of emotional adultery. We see Margo and Daniel swimming elegantly in a glistening indoor pool, their sex scene is dizzyingly erotic and her carnival ride with Daniel to the tune “Video Killed the Radio Star” makes you wonder why she doesn’t have more moments like that with her loving husband.

2 ½ stars