Watch Stories We Tell

Stories We Tell is a captivating and poignant documentary that explores the complexities and nuances of family relationships and the subjective nature of truth. Directed by acclaimed Canadian actress and filmmaker Sarah Polley, the film blends interviews, home movies, and dramatizations to tell the story of her own family's history, particularly the life of her mother Diane, who died when Polley was a child.

The film's narrative is structured around the many voices and perspectives of the Polley family, with each member offering their own memories and interpretations of the events that shaped their lives. Michael Polley, Sarah's father, serves as the film's primary storyteller, narrating his own recollections of his early years with Diane and their eventual separation. His frank and introspective commentary is mirrored by interviews with other family members, including Sarah's siblings John and Mark, and Diane's old friends.

Through these disparate accounts, a portrait of Diane emerges as a vibrant, rebellious, and ultimately elusive figure. Depending on who is talking, Diane is alternately portrayed as a loving wife and mother, a free spirit who defied social convention, and even as a potential adulterer. The film's central mystery is the identity of Sarah's biological father, which is revealed late in the story and serves as a powerful climax to the film.

What makes Stories We Tell so compelling is its willingness to embrace the ambiguity and contradictions of family history. Rather than presenting a straightforward narrative or offering easy answers, the film instead invites the viewer to question their own assumptions about memory and identity. How do we construct our own sense of self? How do we reconcile our own memories with those of others? What is the line between truth and fiction when it comes to family stories?

The film's visual style is similarly complex and layered. Polley incorporates a wealth of archive footage and home movies, ranging from black-and-white snapshots of Diane's early years to Super 8 films showing Sarah and her siblings playing as children. These images are interwoven with dramatic reenactments filmed in a stylized, deliberately artificial manner, underscoring the idea that memory and storytelling are inherently subjective and constructed.

Ultimately, the power of Stories We Tell lies in its emotional resonance. Despite the film's intellectual and aesthetic sophistication, it never loses sight of the deeply personal stakes at hand. The story of Diane and her family is tragic and poignant, and yet there is a sense of affirmation and redemption that emerges from the film's many layers. Polley's skill as a filmmaker lies in her ability to balance the complexity of lived experience with a sense of compassion and empathy that transcends the boundaries of her own family's story.

In conclusion, Stories We Tell is a remarkable documentary that defies easy categorization. Equal parts memoir, family drama, and philosophical inquiry, it's a film that asks profound questions about the nature of memory, storytelling, and identity. Polley's deft direction and the raw emotion of her family's storytelling make for an unforgettable cinematic experience, one that will linger in the viewer's mind long after the credits have rolled.