7.3/10
10,001
56 user 46 critic

The Tale (2018)

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A woman filming a documentary on childhood rape victims starts to question the nature of her childhood relationship with her riding instructor and running coach.

Director:

Jennifer Fox

Writer:

Jennifer Fox
Reviews
Popularity
2,704 ( 21)
Nominated for 1 Golden Globe. Another 5 wins & 24 nominations. See more awards »

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Cast

Credited cast:
Elizabeth Debicki ... Mrs. G
Laura Dern ... Jennifer
Common ... Martin
Jason Ritter ... Bill
Ellen Burstyn ... Nettie
Frances Conroy ... Mrs. G - Older
John Heard ... William P. Allens
Laura Allen ... Young Nettie
Matthew Rauch ... Aaron
Isabelle Nélisse ... Jenny at 13
Jaqueline Fleming ... Margie
Isabella Amara ... Franny
Chelsea Alden ... Samantha
Tina Parker ... Fran
Noah Lomax ... Lucas
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Storyline

A woman filming a documentary on childhood rape victims starts to question the nature of her childhood relationship with her riding instructor and running coach.

Plot Summary | Plot Synopsis


Certificate:

TV-MA | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | Germany

Language:

English

Release Date:

27 May 2018 (Bulgaria) See more »

Also Known As:

A történet See more »

Filming Locations:

Los Angeles, California, USA See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Laura Dern and John Heard previously appeared in Rambling Rose (1991). As with Ellen Burstyn, their previous project also featured Dern's mother, Diane Ladd. See more »

Goofs

The film is set in the year 2008 but the technical devices such as Apple iPhone, iMac and Macbook are from 2015, when filming took place. See more »

Quotes

Bill: When I say naga, you say nee! Ready? Naga!
Jenny at 13: Nee!
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Soundtracks

If You Could Read My Mind
Written and performed by Gordon Lightfoot
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User Reviews

 
Painful but Rational
21 July 2018 | by e-70733See all my reviews

The self-reflection of the victim has become the first step in redemption. The healing of universal pain has become an artistic source through subjective recall. The film finds a mainstream breakthrough between the social accountability of realism and the self-deconstruction of modernism, which is neither cynical nor contemptuous. Of course, the effect of the "extreme" finish on both sides may be somewhat tricky, but it is still sufficiently self-consistent in the original context of the film.


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