Everywhere in the culture, there's another monologuist or filmmaker placing herself at the center of a question, or a series of questions: What's up with my family? How did I get here? How can one charismatic family member hold so many secrets?
Sarah Polley's remarkable "Stories We Tell" -- opening Fridayat Images Cinema in Williamstown -- transcends every cliche in this confessional / investigatory genre. The Canadian director ("Away From Her," "Take This Waltz"), also known as a truth-seeking actress, begins by interviewing her sisters, brothers and half-siblings about Polley's late mother, Diane.
"A fun person at parties," recalls one sibling, Mark. She was the type, he says, who "made the record skip" as she entered a room, generating a whirlwind of boisterous vivacity.
Diane's marriage to Polley's father, Michael, a sometime professional actor, was a love mismatch. She was intensely social; he was emotionally isolated and unwilling to give her what she needed. Diane and Michael met in 1965 when he was doing the North American premiere of Harold Pinter's "The Caretaker." Offstage, Polley's father -- a heavy smoker seen in "Stories We Tell" recording his own memories and narration bits in the studio with his director daughter -- retreated into those Pinter pauses.
The family joke, recounted by several of Polley's family members in the essayistic documentary, was that red-haired Sarah must've been fathered by someone other than the man she called dad. The jest stuck. And then it wasn't a joke anymore.
Everything in Polley's film works with everything else: the soundtrack, full of parlor favorites from another age lending the memory-film aspect of "Stories We Tell" a nostalgic quality, never overwhelms the emotional content of the on-camera revelations.
Polley's sense of timing is perfect. This fascinating odyssey is very nearly that too.
"Stories We Tell" (1:48) is rated PG-13 for thematic elements involving sexuality, brief strong language and smoking.