It’s been a while since we’ve seen a memorable arthouse output from Orion Pictures, the production company behind box office classics like The Terminator (1984), RoboCop (1987), and The Silence of the Lambs (1991). Their re-introduction to the art-centric, indie crowd hits a high note with writer/director Sarah Polley’s powerful feminist drama, Women Talking. Based on Miriam Toews’ 2018 novel of the same name, Women Talking is an unapologetic statement of radical awakening and action, where feminine needs are the focus and sisterhood is an act of self-preservation.

At first glance, it looks as though we’ve been transported to a remote compound in the early 1900s. Kids running around outside free from screens, conservatively dressed women unloading goods from horse-drawn buggies, and pencils and paper taking the place of computers. But this is not a time-period piece. This is what an isolated religious community looks like in 2010, as close to Amish as one can get without directly saying so. The audience is dropped into the middle of heightened tension as soon as the film begins – clearly, there are disturbing issues that must be dealt with. A group of women from the community’s most prominent families are appointed to sort out the impending dilemma.

The men of the community, who have been mysteriously absent from the compound since the beginning of the film, are accused of sexually violent acts towards the women and children. Outraged and disgusted by their predatory and vile behavior, there is no disagreement from the women the men need to stop. Where it becomes a point of contention is how – or if – the women choose to retaliate.

Within the group are those who want to stay and keep things status quo (Scarface Janz – Frances McDormand), those who want to stay and fight (Salome – Claire Foy), and those who want to leave (Ona – Rooney Mara). The arguments for their varied positions all come back to their interpretation of the Bible, which some take literally while others interpret it more vaguely. Everyone is sensitive to the religious element but that doesn’t stop the women from candidly voicing their opinions, no matter how divisive. Acting as the group’s secretary is the affable school teacher (and sole male) August Epp (Ben Whishaw), who writes down the points and arguments made by the illiterate women. Shot almost entirely in the hayloft where these conversations take place, the tension builds like a pressure cooker until a decision is finally reached.

Women Talking derives its strength and staying power not just from the eloquently-voiced script, but also from its phenomenal ensemble cast. Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand, Judith Ivey, Sheila McCarthy, Michelle McLeod, Kate Hallett, Liv McNeil, August Winter, and Ben Whishaw give some of the year’s best performances. Like a delicately woven web, the characters’ lives intertwine amongst heartache, elation, and love. Despite their differing views, they continue their heated conversations for the greater good and immediate future of the women of their community (a gentle reminder that earnest communication can de-escalate many problems).

Resilience is the backbone of Sarah Polley’s script adaptation, beautifully realized on the big screen. The film lacks saturation, giving off cool blues and greys, perhaps in an attempt to show how devoid of color and joy this moment is in all of their lives. The trauma these women are dealing with is both felt and seen. Behind the scenes is another strong female force in composer Hildur Guðnadóttir. Her layered, transcendent score builds throughout the entire film until it culminates in a glorious final sweeping shot that will evoke goosebumps.

Explosive, euphoric, and powerful, Women Talking is a passionate piece of filmmaking from all sides. It broaches difficult subject matter with empathy and compassion and encourages audiences to do the same.

Distributed by Orion Pictures. 104 minutes. Rated PG-13. In select theaters Christmas, everywhere January 20, 2023.