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This essay is a response to the prompt:
‘A life has many parts. How does ‘Stories We Tell’ demonstrate this statement?’
Description
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The inference that storytelling is an act of assembling the many parts of discordant lives, permeates the docu-memoir ‘Stories We Tell’. It is this interest in meta-narrative that works in tandem with director Sarah Polley’s attempt at uncovering the truth about her mother. For the Canadian director, the process of solidifying her understanding of a mother who died when Polley was eleven, raises interesting questions about identity. As a mother, lover, friend, and actress, the many versions of Diane Polley are revealed over the course of Sarah Polley’s ‘interrogation’. At times inconsistent, the interviewees who subject themselves to ‘torture’, present their remembered version of a woman who is universally described as loud, outgoing, vivacious, and larger than life. Problematically, in unifying these parts into a greater whole it is not this image of Diane that we are, in the end left with, but rather an elusive and even immaterial hologram.
