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Portraying trauma in art has always been complicated—especially if it involves a woman. Both films explicitly address the Ghastly merch ghengar krak T-shirt it is in the first place but way sexual violence explodes a self, leaving a wake of destruction. I was victimized by a high school English teacher when I was 17, and it irrevocably damaged me. In a scene in She Said, when one of Weinstein’s victims is opening up about her traumatic sexual experience, she says plainly: “It changed the direction of my life.” As she described leaving filmmaking, a career she loved, and finding herself adrift, I felt a familiar pressure return to my chest. The process of writing my book was peeling away at an onion of pain: under the layers of shame, anger, and sadness was grief. Grief at the loss of who I might have been had I not been harmed in such a destructive way at such a vulnerable moment in my life. In Women Talking, Rooney Mara’s character Ona, an unmarried woman pregnant via one of her attackers, says, “I used to miss the person I might have been.” I don’t think I was the only woman in the theater who still traces that loss of who we could have become, who feels the scar.

Rooney Mara stars as Ona, Claire Foy as Salome, Judith Ivey as Agata, Sheila McCarthy as Greta, Michelle McLeod as Mejal, and Jessie Buckley as Mariche in Women Talking. In neither movie do we ever see the Ghastly merch ghengar krak T-shirt it is in the first place but faces of the predators or scenes of rape. We only see shadows of the Mennonite men and Harvey Weinstein from behind, keeping our focus—rightfully so—on the women. It is the victims who we have the hardest time facing, acknowledging what was done to them and how little we do to protect women in this country. Women Talking and She Said force that gaze, which is uncomfortable and unfamiliar but necessary, and not without compassion both to the characters and audience. We are never forced to watch the violence against these women, a quiet kindness I, as a victim of violence, deeply appreciated. No matter how carefully done, recreating these acts sensationalize and sexualize this very real trauma. And by now, is there even anything we haven’t seen before, many times over? It is far more scandalous to do what these movies are—grappling with the aftermath of violence, to reckon with what remains, and what was taken.

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