Stories We Tell

I saw this at the Canadian top Ten Film Festival at the TIFF Lightbox in Toronto in early January of 2013. It was preceded by a "Mavericks" Q&A featuring Director Sarah Polley with the Festival's Artistic Director. Polley is best known in the USA as an actress in films such as Splice. This is her third feature as director, all of which have been chosen for the Canadian Top Ten. Even though it is a documentary about her family, it is quite riveting, with more than a few surprises. The interview style, camera work and narration are both innovative and effective. One of the interviewees asked her if she has any idea what she is doing, and she said no. After you see this, I think you will disagree. Sarah Polley is one to watch . . . as a writer-director.

Stories We Tell (2012)

**** (out of 4)

Incredibly documentary from filmmaker Sarah Polley who as a child heard stories that the man she thought was her father might not have been. Through interviews with friends, families and those who knew her mother, Polley tries to figure out which part of these stories were true and who exactly her father is. STORIES WE TELL is without question one of the most memorable documentaries to come around in a very long time. I think a strong argument could be made that we're living in an era that has given us so many great documentaries but this here is without question one of the very best. The main focus is to find out who Polley's father is but at the same time the film is about so much more. Just seeing what impact a simple story can have on so many people was just interesting to watch in front of us and Polley pretty much turns this into a Hitchcock thriller because you just never know what twist is going to follow. The director does a terrific job at telling this story, bouncing around from those interviewed to help complete this picture but there's also the impact that her mother's decision had on everyone. There are clips of Polley inside a studio listening to the person she grew up believing was her father tell his side of this story. Just watching her reaction to some of these spoken words was incredibly touching. Also, just being able to see how different person tells the same story and what impact this had on them at the time they heard it was something fascinating. Usually many people might ask what makes Polley's story so special that we, the viewer, should invest time in listening to it. I think what makes STORIES WE TELL so fascinating is her story itself really isn't unlike any story we've probably got in our own closet. By hearing Polley's story you really start to think about some of your own stories and how many of them might be true or lies. Polley has made a name for herself with some pretty good indie dramas but this film here is certainly her crowning achievement so far.

I watched it knowing fairly little about the film. Sarah Polley is doing a documentary. Soon into it, the audience will realize it's a documentary about Sarah's own family. It takes awhile to set up. For the first 30 minutes, my take was this is a better-than-most home movies. Then there is the shock of what this movie is actually about.

It is definitely a brave personal project for Sarah Polley. And it's important to not read any of the spoilers. It is possibly the most intriguing use of film recently. It makes you question the reality of her story, and given some personal reflection, it'll make you question the reality of your own story.

Stories We Tell (2012) is a documentary written and directed by Sarah Polley. This movie is unusual because it's actually a biography of the filmmaker and her family, narrated by her father, "starring" her siblings and herself, along with Polley's relatives and family friends. But the film isn't straight biography or autobiography. It's a quest film as well.

Sarah's siblings and family friends begin by talking about Sarah's mother, Diane, who died, aged 55, in 1990, when Sarah was 11 . (There's some actual 8mm footage of the family, intermixed with staged footage that has the same grainy look of old amateur filmmaking.)

Sarah's mother was beautiful, and she was vivacious and fun-loving. Sarah's dad was a handsome, decent person, but no one would describe him as vivacious and fun-loving. The marriage wasn't terrible, but it was clear to the couple--and eventually to their children--that it wasn't a good match.

That much information is established in the first half-hour of the movie. Then the question arises as to whether Sarah's dad is really her biological father. Polley decides to dig for this answer, and interview the same people she's already interviewed, although this time asking the question, "Who's my father?" Polley accumulates information bit by bit, and eventually expands her search to include people who knew Diane when she was performing in a play out of town.

As Sarah embarks on this search, the camera keeps rolling, and we go along at her side. It's a fascinating ride, because everyone has part of the picture, but only two people had the answer, and one of them is no longer alive.

Stories We Tell is a quiet, careful movie. There's anger, but no shouting, sadness, but no tears. Sarah Polley is in the middle of it all, but she's credited as the director, not as the star. In a way, the star of the movie really is the late Diane Polley, but she's the one person who can't tell her side of the story. That's what makes the whole thing so fascinating.

This is a movie you will want to see if you enjoy quiet, thoughtful, serious films. It will work equally well on a small or large screen.

Sarah Polley has set the stage in mind for many years to tell a simple story. Much like the process of forming a story, things are always taken back to the storyboard and new influences are introduced. Sarah ultimately made the natural choice to deliver this story by simply setting the basis and allowing each party to tell the story as they know it, in every detail from each individual memory.

Stories We Tell works a unique twist on the documentary format and allows the audiences into the life of the family and friends who knew the filmmakers mother, Diane Polley. An eccentric ball of energy with the appearance of an open book, she might have really been a big mystery and her secrets could cause a rift throughout all those connected. Family and friends from all corners step up to the plate and what's heard are a melding of scripted order and the unscripted nature of each individual and their memories of the events that unfolded. At times it's an interview, at others it's a humorous interrogation; we witness the mystery unfolding in a truly compelling, warm and emotional fashion. It's a wonderful case study on human beings and how we shape ourselves throughout a lifetime and the events that can change our lives forever. It's fascinating to see how we all perceive moments and how our memories contain them. Different characters have different takes and yet the feelings resonate the same.

Sarah Polley took the right path and remained on the sideline and behind the camera until it was absolutely paramount. The real people tell their stories and actors portray history with an uncanny authenticity. It delivers the reality and the real people involved without bogging down the narrative. This is rich and affecting storytelling at it's finest.