--- title: "She Said" year: 2022 kind: "film" canonical: "https://film.one/film/she-said" fi1m_id: "she-said" imdb_id: "tt11198810" tmdb_id: 837881 wikidata_id: "Q107969593" fi1m_score: 73 critics_score: 68 critics_reviews: 25 published: "2026-10-03T03:02:46.895205+00:00" updated: "2026-10-03T03:02:47.347304+00:00" region: "ID" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # She Said (2022) Directed by Maria Schrader · 2h 09m · Drama, History ## Identity She Said - **Canonical:** https://film.one/film/she-said - **Type:** Film - **Fi1m ID:** she-said - **IMDb ID:** tt11198810 - **TMDB ID:** 837881 - **Wikidata ID:** Q107969593 - **Same entity:** https://www.imdb.com/title/tt11198810/, https://www.themoviedb.org/movie/837881, https://www.wikidata.org/wiki/Q107969593 **Fi1m score: 73** · Critics 68 from 25 reviews *In a sentence:* Knocking on doors is quite enough drama when everyone has good reasons to leave them shut > Maria Schrader’s *She Said* is a patient, often moving journalism drama, carried by Carey Mulligan and Zoe Kazan. Its attention to the women makes it worth seeing, though it is too easily satisfied with the newspaper’s own conduct. ## Synopsis At the Times, reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) investigate allegations of abuse by Weinstein. They knock on doors, follow paper trails and try to persuade women to speak on the record. Fear of the consequences makes each approach uncertain, while the reporters also have families whose needs do not stop for an investigation. The newspaper effort involves Rebecca Corbett (Patricia Clarkson) and Dean Baquet (Andre Braugher). Twohey and Kantor need evidence they can publish, and testimony from people who have reasons to stay silent. Getting an account is only the beginning; getting permission to use it is another matter. ## Review Maria Schrader’s *She Said* is a good, sometimes moving journalism drama, strongest when it attends to the difficult business of persuading someone to speak. Its weakness is how readily it accepts the newspaper’s account of its own decency. Megan Twohey and Jodi Kantor investigate Weinstein by knocking on doors, following documents and asking women to make frightening decisions about what they will say publicly. The film allows that work to take time, which is necessary even when it becomes repetitive. Carey Mulligan gives Megan Twohey’s persistence weight, while Zoe Kazan makes Jodi Kantor’s attention to other people feel active, something that requires effort rather than a sympathetic expression. Neither performance needs to make its reporter unusually heroic. The scenes involving family responsibilities help because the investigation must compete with work that cannot simply be postponed. The women cannot suspend the rest of their lives until the story is ready, and the performances make those competing demands credible. The women being approached have more to lose than an afternoon, and these encounters give the film its strongest scenes. We were moved by the survivors’ accounts, particularly by the fear of what speaking publicly might cost them. The decision to concentrate on their voices lets that fear come through without turning suffering into an attraction. The reporting becomes compelling when it has to wait for another person’s willingness to continue, and when the reporters’ need for an answer cannot settle the matter. Natasha Braier’s cinematography stays close enough to the women to hold our attention without making their distress feel available for inspection. Meredith Lippincott’s production design gives the reporting an appropriately unshowy setting, keeping the routine work in view. Hansjörg Weißbrich’s editing makes room for the evidence-gathering, but the steady pace occasionally hardens into a plod. The music, credited to Nicholas Britell and Caitlin Sullivan, is less restrained. It presses for an emotional response in scenes whose voices already give us enough to consider. Rebecca Lenkiewicz’s screenplay sometimes struggles to find natural ways for the reporters to explain their purpose. Some dialogue sounds prepared for an audience that must be reminded why the work matters. More damagingly, the newspaper’s part in the story is too comfortable: we are invited to admire its resolve without being asked to examine it closely. The film has room for the fear surrounding Weinstein, but gives less attention to the people and arrangements that allowed it to persist. As a journalism procedural, *She Said* finds real interest in following a paper trail and approaching a reluctant source. The film trusts the ordinary steps of an investigation more than many dramas would, and that patience is worth something even when it tests ours. The women who must decide whether to speak make the familiar business of gathering a story feel difficult again. It is worth an evening for the performances and those encounters. Do not come expecting the newspaper to face quite the same scrutiny as everyone else. *Fi1m score 73, published 3 October 2026.* ## What the critics say The reviews lean positive, with praise clustering around Carey Mulligan and Zoe Kazan’s performances and the sensitive treatment of survivors’ testimony. Most critics find something moving or compelling in the investigation, particularly its attention to the risks women face in speaking out. Several also value the patient depiction of reporting alongside family life. Samantha Morton’s supporting performance draws particular notice, including from critics less persuaded by the film around her. The disagreement concerns how much drama that careful approach produces. Admirers find restraint and tension; others find sluggish pacing, explanatory dialogue and familiar storytelling that adds little to the reported events. Views of the visual storytelling also vary, from sensitive to uninspired. The spread is broad: The New Yorker objects to the frictionless investigation and idealised portrayal of the newspaper, while Slant Magazine argues that the film fails to examine the system enabling Weinstein’s abuse. ## Straight answers **Is She Said worth watching?** *She Said* is worth watching for its performances and patient attention to the women asked to speak publicly about abuse; we score it 73 out of 100. We find the survivors’ accounts moving, though the reporting occasionally becomes repetitive and the newspaper escapes the scrutiny the film applies elsewhere. It suits viewers who enjoy the ordinary work of investigation. **How long is She Said, and what is it rated?** *She Said* runs 2h 09m. It is a drama and history film. **Where can I watch She Said in Indonesia?** *She Said* is not on any streaming or rental service in Indonesia at the moment. It is available in 37 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is She Said, and is it suitable for children?** *She Said* has a UK 15 certificate and is not suitable for children under 15; its accounts of abuse and the fear surrounding speaking publicly make it emotionally difficult material. The film concentrates on survivors’ voices rather than turning their suffering into an attraction. We would recommend caution for viewers sensitive to accounts of abuse, including older teenagers. **How does She Said compare to All the President's Men?** *She Said* is a worthwhile journalism drama, but we recommend [*All the President's Men*](https://film.one/film/all-the-presidents-men) more broadly for making patient reporting consistently gripping. Both find drama in persistence and checking evidence; *She Said* is strongest in encounters with women weighing the cost of speaking publicly. The earlier film offers more institutional unease, while *She Said* is too comfortable with the newspaper’s conduct. **What should I watch after She Said?** After *She Said*, try [*All the President's Men*](https://film.one/film/all-the-presidents-men) (1976, Fi1m 90): Patient reporting becomes gripping drama through missed leads, persistence and institutional unease. Then [*Collective*](https://film.one/film/collective) (2019, Fi1m 88): A documentary investigation that subjects powerful institutions to sustained, necessary scrutiny; and [*The Assistant*](https://film.one/film/the-assistant) (2019, Fi1m 81): Workplace routines reveal the fear and complicity surrounding an abusive boss. ### Reviews we read (25) - **IndieWire**, Kate Erbland (A-): The critic calls the film an artful, incendiary and definitive account of the reporting that helped bring down Weinstein. She praises its emotional depth and the performances of Zoe Kazan and Carey Mulligan, while noting a few stilted early scenes. [Read](https://www.indiewire.com/criticism/movies/she-said-movie-review-harvey-weinstein-1234772115/) - **Los Angeles Times**, Katie Walsh (85/100, inferred): Walsh finds the film powerful and moving, though its careful approach can feel clinical and methodical. She praises Schrader’s visual storytelling and thoughtful focus on the women’s voices. [Read](https://www.latimes.com/entertainment-arts/movies/story/2022-11-17/review-she-said-journalsim-drama-zoe-kazan-carey-mulligan) - **Empire**, Ella Kemp (80/100, inferred): Kemp finds the film a sensitive, galvanising account of the investigation and its impact on the women involved. She especially praises Carey Mulligan and Zoe Kazan for grounding the story with powerful performances. [Read](https://www.empireonline.com/movies/reviews/she-said/) - **Evening Standard**, Charlotte O'Sullivan (4/5): O'Sullivan calls the film a marvel despite occasional sluggishness and uninspired visuals. She especially praises Carey Mulligan’s performance and the film’s attention to the people who helped expose Weinstein. [Read](https://www.standard.co.uk/culture/film/she-said-movie-review-harvey-weinstein-journalists-carey-mulligan-jodi-kantor-megan-twohey-b1032814.html) - **Little White Lies**, Laura Venning (3/4/3): Venning finds the film pedestrian in style but compelling, deeply moving at times, and never sensational. She praises its compassionate account of the investigation and the working mothers balancing reporting with family life. [Read](https://lwlies.com/reviews/she-said) - **Radio Times**, James Mottram (4/5): The critic calls it a tense and moving drama, with a methodical approach that recalls investigative-journalism classics. They praise its depiction of how the journalists gather evidence while Weinstein remains a shadowy presence. [Read](https://www.radiotimes.com/movie-guide/b-pnourg/she-said/) - **Sight and Sound** (80/100, inferred): The critic calls the film a bold and vital call to arms, while noting that its self-sacrifice narrative is less successful. They praise its centring of women’s experiences and the intimate, non-invasive cinematography. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/she-said-powerful-call-arms-struggle-against-patriarchy) - **Time Out**, Anna Smith (4/5): Smith gives the film a strongly positive review of its account of the women who exposed Weinstein. She particularly praises Carey Mulligan and Zoe Kazan’s performances. [Read](https://www.timeout.com/movies/she-said-2022) - **The Guardian**, Wendy Ide (75/100, inferred): The critic finds the drama taut, sobering and impressively thorough. She praises the lead performances and Schrader’s sensitive, unshowy direction, while noting that the score is jarringly assertive. [Read](https://www.theguardian.com/film/2022/nov/27/she-said-review-taut-sobering-drama-of-the-harvey-weinstein-investigation) - **The i Paper**, Christina Newland (75/100, inferred): Newland finds the film a powerful, poignant tribute to the journalists and women who brought Weinstein’s abuses to light. She particularly praises its moving attention to the risks and silencing faced by women who speak out. [Read](https://inews.co.uk/culture/film/she-said-review-moving-salute-women-who-brought-down-harvey-weinstein-1993572) - **Screen Daily**, Fionnuala Halligan (70/100, inferred): Halligan’s verdict is positive, describing Schrader’s adaptation as deft. She praises how it brings Kantor and Twohey’s Weinstein investigation to the screen. [Read](https://www.screendaily.com/reviews/she-said-london-review/5175473.article) - **Variety**, Owen Gleiberman (70/100, inferred): Gleiberman finds the film tense, absorbing, and compelling, but says it lacks the payoff the story deserves. He praises its vivid portrayal of the fear surrounding Weinstein’s victims and the reporters’ painstaking work. [Read](https://variety.com/2022/film/reviews/she-said-review-carey-mulligan-zoe-kazan-harvey-weinstein-1235403043/) - **The Hollywood Reporter**, Lovia Gyarkye (68/100, inferred): The critic finds the film sensible and engaging, though its leisurely pace sometimes drags. She singles out Samantha Morton’s brief, transfixing performance as Zelda Perkins for particular praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/she-said-carey-mulligan-zoe-kazan-harvey-weinstein-megan-twohey-jodi-kantor-1235240909/) - **RogerEbert.com** (64/100, inferred): The page could not be read, so the critic’s verdict and any specific praise or complaint cannot be confirmed. The available text contains only a browser verification message. [Read](https://www.rogerebert.com/reviews/she-said-movie-review-2022) - **The New York Times** (64/100, inferred): The page text is unavailable, so the critic’s verdict cannot be established. No specific element of praise or criticism is visible. [Read](https://www.nytimes.com/2022/11/16/movies/she-said-review.html) - **The AV Club**, Leigh Monson (C+): The review finds the film grave and competently made but ultimately unneeded, feeling like old news rather than a meaningful addition to the Weinstein investigation’s story. It praises the restrained direction and the powerful imagery accompanying survivors’ accounts. [Read](https://www.avclub.com/she-said-review-carey-mulligan-zoe-kazan-maria-schrader-1849788716) - **Slant Magazine**, Keith Watson (1.5/4): The critic finds the film self-important, dramatically inert, and more interested in eliciting admiration than understanding. He faults its failure to explain the system that enabled Weinstein’s abuse and the difficult choices behind sources coming forward. [Read](https://www.slantmagazine.com/film/she-said-review-zoe-kazan-carey-mulligan/) - **The New Yorker**, Molly Fischer (30/100, inferred): Fischer finds the film’s focus on women speaking both compelling and limiting, criticizing its frictionless portrayal of the investigation and idealized view of the Times. She praises the performances of Jennifer Ehle and Samantha Morton, especially Morton’s sharply specific portrayal of a former assistant. [Read](https://www.newyorker.com/culture/cultural-comment/the-frictionless-triumphs-of-she-said) - **Den of Geek**, David Crow (70/100, inferred): The critic finds the film a poignant, credible account of the investigation, though its optimistic ending overstates how much has changed. He especially praises Carey Mulligan’s performance and the film’s meticulous journalistic-procedural approach. [Read](https://www.denofgeek.com/movies/she-said-review-first-metoo-domino/) - **The Wrap** (65/100, inferred): The critic finds the film entertaining and increasingly involving, though sometimes hokey and lacking narrative cohesion. They single out Samantha Morton’s performance in a pivotal scene as especially effective. [Read](https://www.thewrap.com/she-said-review-weinstein-kantor-twohey-nyt/) - **Paste**, Jesse Hassenger (5.9): Hassenger finds the film sincere but too eager to explain itself, and too polite to build real tension. He praises its attention to the reporters’ work as working mothers, while faulting its lack of mood and dramatic sharpness. [Read](https://www.pastemagazine.com/movies/maria-schrader/she-said-review) - **/Film**, Hoai-Tran Bui (5 out of 10): Bui finds the film impassioned but pedestrian, adding little to a story audiences already know. She praises the satisfaction of watching the reporters knock on doors and follow paper trails, while faulting the film’s rote storytelling. [Read](https://www.slashfilm.com/1053501/she-said-review-the-harvey-weinstein-expose-drama-talks-a-lot-but-unearths-little-nyff/) - **Deadline**, Valerie Complex (55/100, inferred): Complex finds the film compelling but somewhat rushed, while questioning whether its subject is being treated too soon. She praises the performances, especially those of Carey Mulligan and Zoe Kazan. [Read](https://deadline.com/2022/10/she-said-nyff-review-maria-schrader-film-chronicles-two-women-1235144643/) - **The Ringer**, Manuela Lazic (55/100, inferred): Lazic finds the film thorough and sometimes powerful, but ultimately too rushed and limited to fully reckon with Weinstein’s abuse and Hollywood’s complicity. She praises Jennifer Ehle’s sensitive portrayal of Laura Madden and the film’s nuanced depictions of survivors. [Read](https://www.theringer.com/2022/11/17/movies/she-said-movie-review-harvey-weinstein-new-york-times) - **Eye for Film**, Jennie Kermode (35/100, inferred): Kermode finds the film important and sensitive but says its slow pacing and leaden dialogue undermine its potential. She praises its handling of survivors’ testimony and the supporting performances, while faulting its lack of complexity and its failure to reckon with the abusive system. [Read](https://www.eyeforfilm.co.uk/review/she-said-2022-film-review-by-jennie-kermode) ## Details - **Director:** Maria Schrader - **Director:** Maria Schrader - **Screenplay:** Rebecca Lenkiewicz - **Cinematography:** Natasha Braier - **Editor:** Hansjörg Weißbrich - **Music:** Nicholas Britell, Caitlin Sullivan - **Production design:** Meredith Lippincott - **Costume design:** Brittany Loar - **Producer:** Dede Gardner, Jeremy Kleiner, Lexi Barta - **Cast:** Carey Mulligan as Megan Twohey; Zoe Kazan as Jodi Kantor; Patricia Clarkson as Rebecca Corbett; Andre Braugher as Dean Baquet; Lola Petticrew as Young Laura; Katherine Laheen as Irish Film Crew Woman; Emma Clare O'Connor as Rachel Crooks; Tom Pelphrey as Vadim Rutman - **Runtime:** 2h 09m - **Release (Indonesia):** 25 November 2022 - **Genres:** Drama, History - **Budget:** $32 million - **Box office:** $14 million - **Trailer:** https://www.youtube.com/watch?v=i5pxUQecM3Y ## Where to watch in Indonesia Not streaming, renting or buying in Indonesia at the last check. Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, EC, ES, FI, FR, GB, HR, HU, IE, IN, IT, JP, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, TR, US. Add `?region=XX` to this URL for another country. ## If you liked this - *All the President's Men* (1976), Fi1m 90: Patient reporting becomes gripping drama through missed leads, persistence and institutional unease. — [Fi1m page](https://film.one/film/all-the-presidents-men.md) - *Collective* (2019), Fi1m 88: A documentary investigation that subjects powerful institutions to sustained, necessary scrutiny. — [Fi1m page](https://film.one/film/collective.md) - *The Assistant* (2019), Fi1m 81: Workplace routines reveal the fear and complicity surrounding an abusive boss. — [Fi1m page](https://film.one/film/the-assistant.md) - *The Insider* (1999), Fi1m 89: The personal cost of speaking publicly receives the attention it deserves. — [Fi1m page](https://film.one/film/the-insider.md) - *The Night of the 12th* (2022): Another methodical investigation, alert to the assumptions men make about women. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/she-said