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  • 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.
  • Sarah Polley continues to become one of the most innovative and inventive directors working today and its proved by what she spills out on the silver screen in her newest endeavor Stories We Tell. A compelling and personal documentary about her own life, Stories We Tell blends and fuses the magic of non-fiction with the imagination of the cinematic mind.

    Telling the story of her own inception, family life, and personal struggle with her own sense of being, Sarah Polley invites the audience into a world that otherwise would seem shameful and dreary but ends up rising triumphant and inspired. While documentaries often take a very serious, somber, and issue-driven approach, Polley's film proves that real life can be just as magnetic without an epiphany of theatrics or cheap camera tricks. Stories We Tell takes cinematic risks that pay off tremendously in both execution partnered with Iris Ng's stunning cinematography. This is one of the best things that the movies have offered this year yet.

    When one takes on a personal subject like their family, you always run the risk of starting your film with a wall between you and the audience from the first frame. Family is one of those things that you can only appreciate when you're a part of the madness. If I sit here and tell you countless stories of brothers and sisters bickering, falling in an apple ditch, or simply the origin of our creations, a disinterest may become prevalent because what makes my story any more real than yours? Unless we have some extraordinary circumstances, family is all relative and subjective. Polley's family feels real. While there are painstakingly clear alignments between my family life and hers, the film goes beyond anything that documentaries have offered viewers before. It's not too often you grow to care about members of a family in a 108 minute stretch unless your last name is Brady, Seaver, or Winslow. It's amazing to watch one story, told from different perspectives, yielding different results and emotions. Why Polley decided to do it, I'm not so sure. Maybe it was her own way of making sense of her unfortunate hand that was dealt or perhaps it was a way of release, living with so many unanswered questions, possibly still until this day. I'm grateful she let me in to tell her story. We should all be grateful.

    There are surprises, innuendos, and things that the film embraces that must be saved for anyone on the first viewing. All I can say is, Polley has likely set a new precedent and encouragement for filmmakers to do similar experiments in the future. A film such as this that follows the life of people like Jack Nicholson or Angelina Jolie would definitely build an anticipation for many to see. Stories We Tell is kind to soul and heartwarmingly relevant. A film to be remembered. The film played at this year's Montclair Film Festival and is scheduled to be released May 17, 2013.
  • Warning: Spoilers
    If you watch this movie expecting it to be as advertised, you may be disappointed, or at any rate bemused. The thumbnail summaries that I have read, as well as the movie's own introductory passages, all present it as an exploration of how different people create different stories from the same event. I think this may be what the director set out to do. But in fact, in the end everyone pretty much agrees about what happened, with one or two notable exceptions.

    What Sarah Polley ended up creating is a meditation on what breaks families apart, and what holds them together. The insights are important, and often counterintuitive, and sometimes startling. What captured my interest, and moved me deeply, was not the detective aspects of the story -- not the revealing of family secrets -- but the gradual unraveling of their causes and effects. For this, the format of the film -- interviews with many family members and family friends -- is absolutely crucial. Some reviewers have complained that the interviews become boring and repetitive. I admit that some patience is required in hearing them out, but it is amply repaid.

    I am also grateful to Sarah Polley for trying to do something different on screen. In the featureless landscape of contemporary cinema, Stories We Tell is a landmark.
  • 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 is a quietly thought-provoking exposé of how difficult it can be to clarify even the simplest truths regarding human relationships and how "truth" can vary a great deal according to who you talk to, even when everyone's doing their honest best. The extended family in this documentary film is a most interesting one, and each individual member is a fascinating character in her or his own right, in spite of, perhaps because of, the fact that there is nothing truly weird about any of them. The extensive use of home video footage from the 60s, 70s, and 80s really carries the film. The small details--e.g., the father's musing on the lonely fly on the wall--are also significant, as are certain fine points in the dialogue between Director Sarah Polley and the family members she "interrogates."

    Some true surprises occur during the course of the interviews; STORIES WE TELL goes deep in its own subtle, quiet way. Still, at the risk of sounding like a vulture, I was hoping for some darker--or at least more unusual or startling--revelations. While it's easy to understand why the real substance of the film--I don't want to give away the specifics--is critical stuff for Sarah Polley, it's nothing the average person hasn't seen or read in other works, factual or fictional. STORIES WE TELL also takes too long to show what it has to show. While the multiple perspectives are intriguing, they become ponderous and repetitive after a while.

    In any event, this film functions well as a simple yet meaningful think-piece. Those who want a lot of variety, excitement, layers & twists, etc, however, may be a trifle bored by it.
  • 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.
  • Sarah Polly's intimate and unique documentary Stories We Tell was one of last year's biggest festival and critical hits in the doco field with her fresh approach to telling a story using 8mm film to recreate the past and talking heads to tell the present hitting a chord with audiences. As one of the most critically acclaimed movies of last year hype for the movie remains strong and in that respect Stories We Tell is an overrated movie.

    To get the most out of Stories one must be wholly invested in the concerns of Polly's family and the eventual revelations that come forth from her questioning and investigating of the past but if your investment is minimal as I found mine was any emotional impact the film clearly has for many is dulled and therefore the film as a whole nothing more than a slightly intriguing piece of life in all its glories and in all its hidden secrets. It must be said however that the films early stages are quite promising and downright riveting it's not until revelations are made clear that the film starts to struggle and you get the sense this is more a film for Polly herself than we the watchers.

    It's nice that Polly chooses to air some very personnel and deep seeded emotions in the way of this film but one question's if what is being found out is of much benefit for someone not in the Polly family. Great documentaries like Searching for Sugarman or Dear Zachary work on emotional levels because what is being discovered as the film and participants go on is relatable in more large scale and universal ways, Stories showpiece just does not have the power to affect like this. The film also has a waft of self-importance that allows proceedings to sadly go in circles and length wise drag out to near two hours which with this format gets old fast.

    Being critical as I have been, Stories is still a movie that will appeal to many a wide ranging audience and for people that may have been through similar family circumstances a tale that will really hit home. For the rest of us though Stories sadly is one of last year's more overrated documentaries and in a genre that is consistently producing the goods it will be quickly forgotten in the wave of other quality entries.

    3 storytellers out of 5

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  • I became aware of this film after watching Sarah Polley in Mr Nobody and it transpired that during the making of that Sarah had received news that the fact that her father was not her biological father was about to be made public. She had not informed her (step) father at that stage and had all sorts of repercussions. Partly perhaps to exorcise those demons she wrote and then featured in this documentary covering all her family and those involved in the story of her mother and her own conception. It is a remarkable tale beautifully told with resource to much family 8mm movie footage. Where there was no footage to illustrate various events such footage is immaculately reproduced. The whole works amazingly well and the viewer is engaged and moved by the immaculate telling of the story, which naturally involves many involved telling their own story. Unique.
  • A rather self-centred family documentary. Sarah Polley digs deep into the family relationships by uncovering its very core, the nature of her own parents.

    What began as an exploration of the chemistry between her parents, unravelled into a big life changing discovery. Two very different people (her mom and dad) got together, got married and remained so until she passed away. An outgoing and lively female ends up with an introverted reserved male. Was she happy? Was she fulfilled? Was she faithful?

    Whilst undoubtedly interesting, lively and stimulating it is somewhat self-centred, as I initially remarked. There seemed to be an overwhelming emphasis on her deceased mother who appeared as spotless despite two marriages, at the first of which she lost custody of her kids, and an affair that produced a child. Little prominence is given to her (supposed) father who raised her like his own and did not stop treating her as such even after it was established that the producer of this documentary is not in fact his own child.

    No one of course can blame a child who was deprived of motherly love early on in life but some consideration ought to be given to the father who took part in the upbringing other than going through life considering himself to be insufficient for his former wife.

    Still, it makes for an intriguing viewing.
  • Warning: Spoilers
    Simply put, this is one of the best and most arresting documentaries I've ever seen. I find it surprising that it's not very well-known. It's quietly enjoyable to watch, is thought-provoking, and is the kind of multi-layered deep meditation I expect critics and film schools to analyze closely. It's not like anything else I can think of. In fact my main reaction after my first viewing was WTF? What did I just watch?

    This is the most "self-referential" movie I've ever watched. Yet it's done in such an understated way some could watch the whole thing and still not even be consciously aware of it. And it's not just one grand loop between two adjoining levels, but rather a whole bunch of small recursions all over the map. Once you become aware of it, it's likely that you too will find the recursion like nothing you've ever seen.

    There are many different ways to read this film. Each of them is complete and self-contained, so you can enjoy the film in one (or more) ways without having to also "get" all the others. Possible readings include:

    reading #1] a true story about slowly unearthing biological parentage (i.e. "is my father really my father?")

    reading #2] a meditation on how we tell stories and on how different people relate the same story somewhat differently

    reading #3] an experiment in just how far the "self-referencing" conceit can be pushed without the whole film collapsing

    reading #4] a deconstruction of what "documentary film" means - What is "truth"? What is "accuracy"? Is it even possible?

    reading #5] a film about filmmaking, in the tradition of "Day for Night" or "8 1/2"

    The audio is mostly interviews and storytellers (where a "story" is a sort of one-sided extended interview). The video matches the words. Sometimes it's the speaker's face. Sometimes it's the action the speaker is describing. Sometimes it's very similar to the event the speaker is relating. Sometimes it's related science - for example when the voice talks about DNA the microscopic picture show chromosomes separating during a cell's Meiosis Anaphase. (Perhaps this was motivated by the science talks in "Mr. Nobody", which Ms. Polley was acting in about the same time she was thinking about this film.) And once in a while it shows the _opposite_ of the words, probably to let us know something isn't quite right.

    Nearly half of the film is "flashbacks" on what is initially assumed to be home movie footage ...and some of it really is old home movie footage that's been found and edited in. But we start to become dubious. There's so very much of this footage, and it seems to match the needs of the modern day filmmaker eerily well, and much of it does _not_ follow the stylistic pattern that's mentioned explicitly early on. We're eventually told when the camera first appeared; then it can be carefully noted that some of the footage is from _before_ this date. It also seems odd that the camera filmed so many things that the camera operator couldn't possibly have been present for or even known about. We keep seeing fragments of a clip with Mom and a male on a footbridge - careful examination reveals the male isn't always the same person. Finally we see some really explicit clues: the nowadays director appears in one of the clips, the director is seen giving acting instructions to her Mom, some of the people in the clips are seen getting their film makeup applied, and one camera actually shows another filming one of these clips. A few minutes later it's made even clearer to those that have missed it so far: the exact same scene switches back and forth between the appearance of one of these historic clips and the appearance of the modern day film, then we see Ms. Polley herself both inside that scene and also filming at the same time, and finally realize what she's holding is an old Super 8 camera. The end credits confirm that while some of the flashback clips are authentic, many of them were recreated.

    Already at the very beginning "things are not what they seem" is thrown in your face. Pictures of interviews are purposely mis-framed to give away hidden wires, mic booms, light reflectors, tripods, and so forth. Later, interviewees occasionally break the fourth wall, primp on camera, or say outrageous things. We eventually realize the entire family is deeply embedded in the Canadian show-biz world, so deeply that some of the main characters actually had careers as stage actors at one point, and many of the rest were involved in other aspects such as producing or casting. Sure enough, it eventually becomes clear that the "honest" interviews with the main characters are in fact acted. There's even a comment about somebody "falling in love" with the stage character he was playing rather than with the actor himself.

    The line between "in front of the camera" and "behind the camera" is shown to be overly precious. It's not even all that well defined; what does it mean when at the same time the visual is in front of the camera, but the audio is behind the camera? At some points a character on camera gives a suggestion for how the film could be edited at that point, then that exact thing really happens. Name any "rule" of documentary filmmaking you like, or any "theory" of how documentary films should guarantee they're presenting "the truth". It's mentioned here, then gleefully flouted or debunked. This film is so clever and so thorough (in its understated, un-obvious way) that it feels like nobody else should ever again make a "self-referential documentary", because the last word has already been spoken.
  • DexIMF22 October 2013
    Intriguing, but not as emotionally overwhelming for the audience as it is for the storytellers. There is ever so palpable, cold detachment from the story's emotional spine. Maybe, it's because of the lack of perspective of the person who wanted this story to be out there- Sarah Polley herself. You can sense subtle reactions coming from her whenever she is on screen, for however little time, and build her point-of-view in your head. But that would be just another version of story in this baggage of different perspectives. Also, I would rather she hadn't filmed dramatized clips of real-life incidents and trust the audience's imagination.

    All that being said, it does not take away anything from the fact that "Stories We Tell" is a fascinating concept. If nothing else, it works as a brilliant think-piece on subjectivity of memories and distorted truth by different perspectives.
  • Warning: Spoilers
    After reading about the great reviews the so-called expert critics gave this movie, this was a huge disappointment in so many areas. Which mostly are:

    1. One of the themes of this movie (articulated by Polley herself) is that, "does the truth depend on who does the telling?" That implies (at least to me) that there would be some disagreement on different aspects of the story. There are no disagreements...everyone doesn't know every single detail, but everyone is consistent. And Polley keeps repeating this theme towards the end of the movie. She's a smart woman...what the heck is she talking about? Did she think that if she didn't bring this up that all that would be left was a story that was too thin and too self-indulgent? I thought that while this is a very interesting story for the Polley family, it was not an interesting film about it. That leave us with a very self-indulgent film.

    2. The film was too long. This could have been wrapped up about 20 minutes earlier, or the film could have been 20 minutes shorter. Again, self-indulgent.

    I don't know Sarah Polley, but she seems like a good person, and her family seems like good people. But the film just didn't work.
  • Actress and filmmaker Sarah Polley decides to make this film about her family history, with a particular early focus on her mother who died many years prior. In building the story of her family she draws on all those alive who were involved and this is probably as much as you want to know. Many others have put too many details in their comments without warning and I think this is unfair as this is a film that is better when you come at it without knowing everything. Polley tells this story in a way that is engaging and interesting. Early in the film one of the contributors asks "who would want to know about our family" and it is a fair question since, although it has famous members – they are really not that famous. In reality though the film is structured and delivered in such a way that, while you may not have an interest in this specific family, their story is engagingly told.

    On this level I liked the film and I thought it worked well, but I have to disagree with the comments made by many in regard what it else it does. Many have praised the film for showing how stories get fragmented and twisted and how perspectives etc influence their telling and indeed Polley herself lays this out as the goal for the film when she is asked towards the end. Perhaps it is because she said it so clearly that some assumed she'd done this and perhaps it is also the reason why it stood out to me that she didn't, even though I liked what she had done with it. The problem with this goal is that, while the story over the past few decades may have been half-told, twisted and gradually revealed with different people knowing or thinking different things, in the film this is not the case at all. Indeed the thing that makes the story so engaging is that it is so well structured to be gradually delivered, be clear and be interesting on its impact on the family. Everyone contributing knows the full story and while they may have different opinions on small things or motivations of others, there really isn't something like Rashomon here where the same thing is different from different angles. There are no questions left, no doubt at any point really – we get introduced, follow the story quickly and efficiently and are left at the end with everything neatly done.

    The irony is that for me the film works well like this. I enjoyed the story and how well told it was and I found the contributors to be honest, human and engaging. It is a very personal and human film and this was the quality I took from it. I still had no reason to care about this specific family over any other, but it worked nonetheless. To me it is almost a shame that Polley laid out this alternative goal because she really doesn't get anywhere near achieving it and indeed if she hadn't said anything about it I would never have guessed such an objective was ever on the table.

    It works for what it is, but in terms of its own goals it is unsuccessful – but it still worked for me.
  • STORIES WE TELL opens with an extended shot of Michael Polley (director Sarah's father) reading out a prepared script in a recording studio, with his daughter facing him. This sequence serves as a metaphor for the entire film, which concentrates in depth on the nature of story- telling. It is fundamentally an autobiographical detective story, as Sarah interviews various members of her extended family to discover something about her late mother's life. We learn that her mother used to be an actress and performer; a vivacious soul who married Michael (a British actor) after having experienced a disastrous first marriage. Her marriage to Michael works fine for the first few years, but then things start to go wrong, and her mother ends up having an affair with film producer Harry Gulkin (one of Polley's interviewees). Michael and the family are based in Toronto; Gulkin in Montreal. As Sarah investigates more about this love-affair, she discovers something shocking about her own life that changes her perspective for ever. As she conducts her interviews, Polley realizes that different interviewees have different versions of 'the truth,' shaped not only according to their perceptions, but also by what they want to reveal on camera. Only by comparing different interviews can Polley reach at least an approximation about what 'really' happened to her mother and Gulkin, and the effect of their love-affair on Michael. One reviewer of this film has already asked "what is it REALLY about?" The answer to this question becomes clear: there is no such thing as a 'real' or 'definitive' interpretation of the past. We can only listen to different accounts, and make up our own minds, while realizing that our interpretation is no more or less definitive than other interpretations. Polley's film is both uncompromising yet sympathetic to the interviewees; sometimes they are prompted into revealing truths about themselves (which perhaps they had not previously admitted), but Polley - who appears on screen as well as directing the entire film - makes no judgment on them. This absorbing piece is essential viewing for anyone interested in the relativity of history, whether personal or otherwise.
  • This is a recommended-to-watch movie, However, there were few things missing in the story. I think the story was told too good to be true. I mean everybody seem to be happy and satisfied with what happened. No matter how Dian had been behaving irresponsible and careless towards her children, her spouses and her lover in different occasions, they all speak as if because of Dians circumstances it was all right. It appears to me that since she has died years ago, everybody is OK with the facts and nobody is complaining and doesn't remember any resentment or doesn't want to remember it.

    Sarah is not taking part in telling thestory. she doesn't contribute to movie like others. she questions and directs but doesn't narrate anything herself. doesn't speak about her feelings. her point of view. all I can guess, is that she liked her mum(or maybe the story itself) enough, to edit the movie in a way that depicts everything being wonderful.
  • Warning: Spoilers
    You should watch the film before reading my comments. It is film worth watching.

    This film, as the director tells us a few times, is about the different points of a view over the same events. I didn't find these differing points of view, as other reviewers have also pointed out. In fact, quite the opposite—the various comments seem to re-enforce each other. But I'll put aside this disconnect between Sarah Polley's intent and what I actually saw.

    We have a daughter who discovers that her father, with whom she has grown up, is not her biological father; in fact, her mother has slept with at least two other people. The father is painted by everyone, including him, as a good father but incapable of providing the love craved by her mother. So much so, that when one of his daughters hears that she had an affair, the daughter is so happy for her. In the next moment, when all the daughters learn of their mother's exploits in the name of love, they all get divorced.

    Sarah's biological father sees nothing wrong with his pursuit of a married woman (or accepting her advances, which ever was the case), and wishes Sarah's mother would have divorced her husband and come, along with her children to live with him. Their relationship may or may not have worked, but they had a strong love for each other—given the six weeks that they knew each other. By the way, the gay son is disappointed that his father was reluctant to talk about oral sex. If this last comment seems to come out of the blue in my discussion, that's exactly how it felt in the movie.

    We learn that the Sarah's mother wanted much more sex than her father would provide, and the suggestion is made that love and sex are the same thing: Sarah's mother needed more love and sex than her husband could provide. Her husband knew this and was thus grateful that she had outside affairs because otherwise she might have left him.

    Sarah learns that her mother had scheduled an abortion (of her) and in fact was on her way to the procedure, when she changes her mind. Her mother appears to have known who the true father was all along—despite having slept with at least three males during the period in question—as Sarah's mother sent the biological father pictures from time to time of Sarah.

    Sarah's non-biological father, the one she grew up calling dad, appears to feel that he got the better end of the deal, in that he got to take care and love this wonderful person Sarah. He says that if she had been his own child, she may have been a better person, or worse, but that Sarah was special.

    Did her non-biological father (dad) love her mother? It does appear so, and in fact when her mother dies, he is devastated. When he learned of his mother's affair, is he angry? No. He talks about how this revelation has brought him closer to his (adopted?) daughter and that he doesn't remember exchanging such hugs with her, as they have done now that the story is out. He says "nothing has changed," yet she is off being welcomed into the fold of all her newly discovered blood relatives, and in particular, bonding with her biological father.

    Despite the trauma, no one seems angry, disappointed or even upset with anyone. Sarah in particular maintains a monotone and cool demeanor through it all.

    Am I being critical of all of this? No. It's amazing and at least surface level honest. That's why the film is worth watching.

    There is probably a story we didn't hear about how Sarah's father got into the position of seeing himself as so completely unworthy. He seems a totally defeated individual, but with a good heart. Once Sarah's sisters were freed from the bonds of marriage upon learning of their mother's adventures, I wonder how their husbands felt when they were divorced?

    Sarah's mother was married when she fell in love with Sarah's "dad," and subsequently divorced this first husband. This first husband was not happy being divorced and gained full custody of their children (a first in Canada). Sarah's siblings report being abused by their stepmother in this relationship, and that Sarah's mother would cry endlessly having to return her children into this abusive home. I wish Sarah had more fully reported on this perpetrated abuse. How about interviewing the stepmother and her first husband?

    The facts and interviews in Sarah Polley's documentary tell an amazing story about the nature of one family's structure and bonds. It was well filmed and filled with old clips. Its major flaw I suspect is in the fact that no one ever stood up and said something in an angry, outraged, betrayed and hurt voice.
  • It's almost impossible to review this movie without massive spoilers at almost every turn. But the "reveal" in this biographical documentary about writer/director Polley's own family is both confounding and compelling in such fascinating and unexpected ways, I feel that I must try to keep it spoiler-free. The main subject/protagonist in this story of a artistic storytelling family is Sarah's mother, Diane Polley (herself an actress and casting director). In the '70s, the 8/16 mm footage of Diane reveals someone born to be an electric presence and the center of attention. Sarah grows up to share aspects of her mom's very expressive face & endearing personality. Then, in the late '70s and early '80s, we gradually learn of certain secrets (and what family doesn't have those?) as well as a looming tragedy, that not only will dramatically affect the extended family members and closest friends, but also serve to take the biographical elements of this movie in new and different, ever evolving directions. I was already familiar with some of Sarah's fine acting work, mainly in films made in her native Canada, but some in the U.S. as well. And I knew that she'd started directing (movies are a director's medium, after all). What I didn't know was how well she could write and direct the story of how she has come to be the brilliant creative force she obviously is. The stories detailed here by extended family members, rivals, and other loved ones help illuminate more than just their own lives and loves, but also some of the frequently confusing conditions associated with being human. 9/10.
  • This film is recommended.

    Michael and Diane were two very different people who fell in love. Both actors, Michael was quiet and introspective, a private person, while Diane was loud and out-going, always the life of the party.  They met, married, and raised a family. Their life story is on public display in Stories We Tell, a fascinating examination of family dynamics written and directed by their actress/director daughter, Sarah Polley. This investigative documentary uses the various viewpoints of family members and friends and their clouded memories of real events to create a cinematic tapestry of a dysfunctional family trying to come to terms with the actual truth of their family history.

    Through home movies that contrast the former images of the two lovers and candid interviews by their off-springs, Stories We Tell hones in on the life and death of their mother and the direct effect on all of its' family members. Diane's past transgressions and erratic decisions seemed to complicate everyone's life before and after her death, making many of the brothers and sisters question their own relationships with their parents. As with time, memory and reality blurs and the truth remains elusive. The past and present ultimately collide in this documentary of hidden affairs, divorce, and questionable paternity issues. As the filmmaker delves into her mother's mysterious past to find clear-cut answers, it takes a toll on each family member.

    Stories We Tell gets to be almost too personal in its message, relying on conjecture and here- say to form its narrative structure. The subject matter is always interesting but too limited in scope. On one hand, one almost feels voyeuristic in experiencing this film. Yet, the filmmaking is expertly assembled and must have been cathartic for some of the family and seen as an embarrassment by others.

    That said, Ms. Polley has made a well-crafted film with strong editing techniques, effectively blending the footage of the interviewees speaking movingly about the emotional damage cast upon them with the many happier family images that haunt their recollections. (Particularly ironic is the inclusion of a segment with Diane singing Ain't Misbehavin'.)  Stories We Tell tells its story very well. Whether you are interested in hearing it may be another story in itself. GRADE: B

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  • Henryhill518 June 2013
    Filmmaker/actress Sarah Polley deserves to be titled in that order, if it makes a huge difference. Yes, she's a luminous actress, but over the past 4 years and 3 films, Polley has ascended into something bigger than that... a woman crafting tremendous, personal works of art that transcend her young age.

    Polley's latest film, "Stories We Tell" is a documentary, turning the lens on herself and her own family as she scalpels away at the truth of the infectious personality of mom Diane and exactly what happened in the late 70's. Using direct interviews, grainy home video footage and even actor-portrayed recreations, "Stories We Tell" charts the timeline of her family with judicious investigation. Why doesn't she look like the rest of her family? What causes a marriage to fade into boredom and familiarity? And what's the responsibility of future generations to trace the truth of past ones? All of these questions are answered in Polley's capable hands, at great personal cost to all.

    In actuality, Polley has probably been answering these questions for years now. Her debut film, "Away From Her" was a moving and real depiction of a woman's slow ascent into sickness, featuring a wonderfully nuanced performance by Julie Christie and, obviously, based on the slow progression of cancer that eventually took Polley's own mother when she was just 11 years old. Last year, Polley released "Take This Waltz"... a film starring Michelle Williams as a woman torn between the comforts (and boredom) of marriage and the exciting possibility of an affair. I was on the fence about the film, amazed by certain moments of spontaneity but taken aback by the weird outbursts of Williams' character. After seeing "Stories We Tell", it's clear "Take This Waltz" was more autobiographical than anyone realized. Both films, seen as a fictional and then non-fictional rendering of the same woman- Polley's mother- compliment each other and deepen the conflicted and quizzical feelings Sarah must have about her mother. While most of us can appreciate a parent in the here and now, Polley is recreating her through grainy images, interpretive writing and tough questions.

    In "Stories We Tell", a unique structure is used where her own father reads aloud from a text (we find out at the end of the film where it came from) and Polley frames the images around the meta-textual musings. It's ironic (and somehow perfect) that the most memorable images of the documentary are stationary reaction shots of Polley as she listens, her face or mouth or eyes tightening or twitching in discovery as the words are made. Not only is it a human moment, but a touching one that forces the audience to discover and relate to her own discovery. The best non-fiction works, like those of Jonathan Caouette or Ross McElwee, not only mine the potential of a great personal story but they allow us unsettling peaks behind the emotional curtain of the author or storyteller. Sarah Polley has created a brave undressing of her family that not only belongs in this class of personal docudrama, but stands head and shoulders above anything else this year so far.

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  • 'STORIES WE TELL': Three and a Half Stars (Out of Five)

    Actress and filmmaker Sarah Polley wrote and directed this documentary about a long kept family secret. She interviewed several family members and close friends and had her father Michael Polly narrate the movie (by reading from his memoir). Polley also recorded reenactments of significant events in her family's history, with a Super-8 camera, making the video appear like old home movies. She cast actors as key players in the scenes; like Rebecca Jenkins as her mother Dianne (who lost a battle to cancer when Sarah was just 11). The whole film revolves around her mother and a possible affair she had, which may have led to Sarah's conception. I found it to be well made and somewhat interesting but not overly involving or emotionally fascinating.

    The movie is presented sort of like a 'making of the documentary' film as much as an actual documentary. Polley records her father reading the narration and includes a lot of the commentary and dialogue they had between takes (often highlighting moments when she'd ask him to repeat a line). The interviews are shown with outtakes included as well and I at first didn't realize the Super-8 footage was fake but the film includes 'behind the scenes' video of that too. I think the methods Polley used (of presenting a story) are interesting and unique; they also definitely distinguish it (quite a bit) from similar documentaries.

    The movie got rave reviews and is actually one of the best rated films of the year (by critics). Despite this it failed to secure an Oscar nomination for 'Best Documentary'. I haven't seen most of the films nominated in that category (this year) but I don't think this is up to par with what I usually expect from a 'Best Documentary' film. It's filmed in an interesting way but it doesn't quite grab the viewer and impact them emotionally the way the filmmakers want it to (at least it didn't for me). Still it is a good documentary that's worth seeing though.

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  • Warning: Spoilers
    From the first piano key to the last tune the music editing of this brilliant and touching film subtly underline the story Sarah Polley tells on film through numerous witnesses. The technique employed to recreate perhaps 60% of the past is extraordinarily smooth and beautifully integrated. "The Story" is read and written by Michael, Sarahs dad (spoiler excluded). It is pure poetry and the actor's voice...he is a stage actor in life...is marvelously emotive. This is enough to say...just go see it and marvel at the audacity of the filmmaker and her crew who labored for five years to bring this film to screening.
  • 'Stories We Tell (2012)' takes more twists and turns than most fictional outings, told via a myriad of complementing and contrasting to-camera interviews and plenty of old home-video footage. Even without its exploration of memory and truth, it's a compelling true-life tale filled with emotional resonance. Yet, its musings on what it really takes to convey and, even, understand what really happened are incredibly interesting and are, arguably, what elevate it above many others in its genre. Most of our lives seem mundane to us, yet they may be riveting to others; we're often unable to see what makes our existence stand out from everyone else's, simply because we can't see ourselves from the outside. This is the sort of thing the affair makes you think about. It's a brave, deeply personal effort from Polley and it's surprisingly gripping throughout. 7/10
  • THE STORIES WE TELL (2012)

    Canadian actress, writer, director, producer Sarah Polley made an out-of-the-box documentary about her own family secret: her charming, whirlwind-of-a-woman mother, Diane Polley, died of cancer when Sarah was eleven, and it was "joked" through her childhood that Sarah's father was an actor Diane had an affair while appearing in a play in Montréal; this is confirmed by a DNA test when Sarah is twenty-seven, only it turns out to be a different man than most in her family thought it was.

    In this film, Sarah interviews the four siblings she grew up with, her biological father and newfound sister, friends of her mother, including the man who was rumored to be Sarah's bio dad. At the heart of the interviews is the man who raised her, actor Michael Polley, reading a self-depricating memoir he wrote about his curmudgeonly life with Diane, (the life of the party), and scenes of Sarah having a sit-down with her biological father, movie producer and theatre director Harry Gulkin.

    After recording the stories, Sarah used 8mm film to recreate the events spoken about and then wove these bits in with the interview / narratives, along with some home movies.

    I liked some of the players, especially her siblings, who seemed genuinely supportive of Sarah, which is not always a trait found in families. The throughline about the man who raised her felt inauthentic and sad to me.

    I appreciated the novalty of Sarah's artistic approach to working through this personal life revelation via a creative, probing documentary, however it felt both too personal, yet not personal enough to me. I would have preferred to hear Sarah's own unblanched narrative rather than her steady direction to her father to repeat lines he was reciting and snatches of her reading emails she sent to both of her fathers. I felt deflated, uncomfortable, and was not deeply moved by this film.
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