94% Stories We Tell

All Critics (86) | Top Critics (35) | Fresh (81) | Rotten (5)

Everyone has a different story. I found myself holding my breath listening to them talk. The story twists like a thriller.

Stories We Tell is not just very moving; it is an exploration of truth and fiction that will stay with you long after repeated viewings.

Part of the movie's pleasure is how comfortable the "storytellers" are with their director; you get a sense of a complicated but tight-knit family, going along with Sarah's project because they love her.

Never sentimental, never cold and never completely sure of anything, Polley comes across as a woman caught in wonder.

After you see it, you'll be practically exploding with questions - and with awe.

Polley approaches every character with compassion, intent upon blessing them, and serving the audience with useful questions about how we seek the truth.

Polley is working in the tradition of Orson Welles, but her trickery can be exasperating; it also neutralises many of the emotional revelations.

With Away From Her and Take This Waltz, actress-turned-filmmaker Polley has proved herself as an unusually gifted director, but this inventive, moving documentary reveals even more artistic ambition.

What saves it is our realisation that it isn't just a documentary.

A bittersweet and compelling autobiographical family portrait.

Kane-like in its mirrored complexity, flashing in its mischievous irony, the story is a shiny maze which Polley enters knowing exactly where and what her Minotaur is - the secret of her paternal parentage - while spinning for us a thread to follow.

Polley ... smilingly tells us that a story like hers can never truly be tied down, even as she screws every last piece into place.

Polley's cine-tribute is a gripping and absorbing meditation on the unknowability of other lives.

The films greatest achievement is in how deeply mesmerising one woman's story can be, regardless of whether she's famous or not.

Honestly, it's one of the best things you'll see this year.

Polley's fearless personal journey is a huge achievement, a genuine revelation - but the less detail you know beforehand, the better. Go in cold, come out warmed.

Sarah Polley is often referred to in Canada as a 'national treasure'. She's far more than that. She's a treasure to the world - period. And so, finally, is her film.

An absorbing exercise not only in documentary excavation but in narrative construction.

Sarah Polley's exploration of her tangled family history is a complex and thoroughly fascinating inquiry into the nature of truth and memory -- and, inevitably, into Polley herself.

This is simply a gorgeously realised and warmly compiled family album, which lingers with us not because its subjects are so unusual and alien, but because they feel so close to home. What a success.

Sarah Polley's personal "documentary" suffers from one additional emotional beat too many. Otherwise, it's mesmerizing.

Polley interviews her family and acquaintances with remarkable candor and intimacy, perhaps as a method of catharsis, but it never feels like a vanity project or a simple airing of dirty laundry.

The great conceit of Polley's theories of perspective and truth is that she, as director, ultimately controlled everyone's memories because she arranged them on film.

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Source: http://www.rottentomatoes.com/m/stories_we_tell/

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