Stories We Tell 2013

Box Office

$1M

Runtime

108 min

Language(s)

English

English

As filmmaker Sarah Polley delves into her family's hidden truths, a tapestry of stories unfolds, weaving together revelations and surprises that challenge her perceptions of love, memory, and identity.

As filmmaker Sarah Polley delves into her family's hidden truths, a tapestry of stories unfolds, weaving together revelations and surprises that challenge her perceptions of love, memory, and identity.

Does Stories We Tell have end credit scenes?

No!

Stories We Tell does not have end credit scenes.

Ratings


Metacritic

91

Metascore

7.9

User Score

Rotten Tomatoes
review

%

TOMATOMETER

review

0%

User Score

TMDB

71

%

User Score

Movie Quiz


Exploring 'Stories We Tell': Test your knowledge about the intriguing family dynamics and storytelling techniques in Sarah Polley's documentary 'Stories We Tell'.

Who is the director of 'Stories We Tell'?

Plot Summary


Here is a rephrased version of the section:

As the camera lens focuses on the complex web of relationships within the Polley family, the film delves into the intricacies of Michael and Diane Polley’s union. A shocking revelation emerges: that the director herself was the product of an extramarital affair between her mother and Montreal producer Harry Gulkin, a twist that adds depth to the already rich tapestry of family dynamics. The documentary seamlessly weaves together insightful interviews with Polley’s siblings from her mother’s two marriages, as well as candid conversations with other relatives and family friends. A unique narrative device is employed through Michael Polley’s narration of his memoir, which provides a poignant and introspective counterpoint to the on-screen drama.

The film also employs Super-8 footage shot in a style that mimics home movies from pivotal moments in her family’s past. This clever technique not only adds a layer of authenticity but also allows for “canny casting” as the characters are brought to life. Rebecca Jenkins takes on the role of Diane, whose passing on January 10, 1990, occurred just days before Polley’s 11th birthday.

As Polley herself notes in her blog post on NFB.ca, several journalists had been aware of the story surrounding her biological father for years, but respected her desire to keep the matter private until she was ready to share her story on her own terms.

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