#hutterites

Hutterite faience or Hutterite ceramics is the collective name for the production of majolica (faience) in the territories of the present-day states of Slovakia, the Czech Republic, Austria and Russia, created in the environment and tradition of the Hutterite national and religious minority settled there between the 15th century and the beginning of the 20th century. The Habans immigrated to Slovakia in the 16th century and settled in its western part. Here they also influenced the development of the production of domestic ceramics. They contributed to the improvement of its quality through the innovation of adding a lead-zinc white opaque glaze and their traditional painted designs. The colours yellow, green, purple and blue were characteristic of this type of pottery, with black accentuating the contours. Typically, the colour red was omitted. Red was not used at all, for religious and philosophical reasons.

In the last third of the 17th century, after the journey of the Hutterites to Holland, an innovation in patterns is visible. They began to paint white and blue majolica, which imitated Chinese porcelain. They adopted the features of Dutch Delft faience, Chinese landscapes, architecture, birds and plants. Motifs from Turkish faience, such as tulips, carnations, lilies of the valley and berries, also appear in their work during this period. These foreign designs persisted throughout the 18th century.

From the second half of the 18th century onwards, the influence of the Slovak environment is noticeable. Agricultural motifs, scenes from the stories of saints and patrons began to be used. The process of the discolouration of Haban majolica began.

Hutterite horse team

Sarah Polley is one of those auteurs whose filmography plays out like a student learning their craft. Her feature film debut “Away From Her” was simplistic in its narrative, then came her autobiographical documentary “Stories We Tell” where her storytelling improved. Now we have “Women Talking” which is Polley coming into a milieu of character development and emotional strife. With the Academy Awards only a few hours away from the writing of this post, Polley will surely be dusting off space on her shelf for her well deserved Oscar.

From Miriam Toews’ novel of the same name, “Women Talking” focuses on a small group of women and girls in a Hutterite colony in Canada. Abuse has been rampant for a long time and things have hit a breaking point with the arrest of some of the colony’s most powerful elders. With charges pending, a meeting of some of the victims takes place in which a decision must be made. Will they stay behind and forgive their abusers, which would mean a place in heaven? Or will they desert the only home they ever know and risk eternal damnation? Over the course of 24 hours, that choice is debated back and forth.

The only thing contemporary about “Women Talking” is the year that the story takes place; 2010. Beyond that, this is as much a period piece as any classic novel from the 19th century adapted by Merchant-Ivory or David Lean. The characters’ fashion, speech, demeanor and movement all harken back to a long ago era, despite the year and their insulation from the outside world is also odd. Just like the Amish in Pennsylvania or Hasidic Jews in parts of Brooklyn, the past is the present, and the present is non-existent. The choice to photograph in semi-black and white was also wise as if to illustrate the purgatory that each woman lives through on a daily basis, but also the fact that they live in another universe that happens to be on Earth. Even the film score by Oscar winner Hildur Guðnadóttir has the feel of a Sci-fi epic, but with a more Classical slant. It may have taken place in recent years and brings up now-current issues such as #MeToo, but “Women Talking” couldn’t be more of an anomaly in so many categories, and that winds up being the film’s greatest strength.

“Women Talking” starts very deceptively as a Brecht style drama in which dialogue is spoken more in verse format and there’s very little emotion from each character. Words repeat nonstop and you wonder what the nucleus of the film really is. But that is the entire point, these women are conditioned to act as common folk, knowing very little about things that the majority of humanity take for granted, like maps and grammatical punctuation. Brecht’s work can be seen as dry poetic legalese, that stagnates the environment around its characters. But then gradually, the dialogue becomes more free-flowing, the sentences much looser in pronunciation and the cries much more melodic, rather than pent up and the colors even become a little brighter. As you see the characters evolve, so do their surroundings.

One of the drawbacks about a film’s ensemble is that there are no truly standout performances, but rather little standout scenes. The cast spans from veterans like Judith Ivey, Frances McDormand and Sheila McCarthy to the newer crop of actresses like Claire Foy, Rooney Mara and Jessie Buckley. All of them are equally amazing and do their own acting exercises which illuminates the drama. Ivey is the one that has the most heart tugging scenes. Being the eldest of the group, her character Agata knows only the few acres of land as her world, but its her strength that makes her see beyond familiarity. Foy’s Salome is another character whose hurt and injury is all over her face and voice. Buckley’s Mariche is probably the most delicate of the women, precious like a porcelain doll, but fragile like cracked glass. The problem is, not enough time is given to really let us know these women individually, as opposed to as the collective that are presented as. That is not the fault of the screenplay, but the plot’s setting and circumstances. That being said, I would have liked to at least see one or two characters up close as a sample of what life in the colony was like instead of brief flashbacks that give off a superficial experience.

After tonight’s Oscar ceremony, whether or not Sarah Polley wins the Oscar for Best Adapted Screenplay, she will be a major player in Hollywood and I hope she takes advantage of it well. “Women Talking” may not be perfect, but it’s the calling card for a fruitful career that I hope will be rich in future masterpieces.

Kinda? Both are anabaptist offshoots that came about during the Reformation and as anabaptists, they try to distinguish themselves from the general population. Mennonites are probably the most mainstream of those kinds of groups, with Amish being the most conservative, and then Hutterites falling somewhere in between.