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Stories We Tell

Stories We Tell

Documentary · 2012

Canadian actress and filmmaker Sarah Polley investigates certain secrets related to her mother, interviewing a group of family members and friends whose reliability varies depending on their implication in the events, which are remembered in different ways; so a trail of questions remains to be answered, because memory is always changing and the discovery of truth often depends on who is telling the tale.

Movie details

Stories We Tell

2012 Documentary 1h 49m

Critical arithmetic

The consensus, allegedly.

IMDb

7.5 / 10

14.4K votes

Rotten Tomatoes

94 %

Tomatometer

Metacritic

91 / 100

Metascore

TMDB

7.1 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Canadian actress and filmmaker Sarah Polley investigates certain secrets related to her mother, interviewing a group of family members and friends whose reliability varies depending on their implication in the events, which are remembered in different ways; so a trail of questions remains to be answered, because memory is always changing and the discovery of truth often depends on who is telling the tale.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Stories We Tell?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Sarah Polley

Written by

Sarah Polley

M

Michael Polley

Storyteller

H

Harry Gulkin

Storyteller

S

Susy Buchan

Storyteller

John Buchan

John Buchan

Storyteller

M

Mark Polley

Storyteller

J

Joanna Polley

Storyteller

C

Cathy Gulkin

Storyteller

Court is in session

Put Stories We Tell on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Auteur Devotee

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.