Two journalists, separate paths, one mission: tell the truth about violence against women
Journalists Jodi Kantor and Megan Twohey work at the same publication, the esteemed The New York Times, each dedicating effort to stories about violence against women. In the final months of her pregnancy, Megan relentlessly pursues material on the systematic abuse surrounding then-President Donald Trump. Jodi searches for courageous women to share their painful, often silenced, experiences with the world.
Yet Megan’s work seems to stall under the weight of scandal and power, and Trump’s presidency presses forward. The search for Jodi and the voices of traumatized women, exhausted by shouting for attention that rarely comes, lingers behind closed doors for years.
On maternity leave, Meghan contends with postpartum feelings while Jodi uncovers a potentially explosive conspiracy: alleged decades of abuse by a top Hollywood producer. Harvey Weinstein’s name surfaces as a focal point in a case spanning subordinates to the industry’s most visible stars. Kantor and Twohey combine their extensive reporting to uncover the truth, launching an investigative effort that reverberates globally and reshapes public understanding of power and violence.
“Every Truth” emerges as a retelling of these events, a title whose adaptation signals how difficult it is for survivors to come forward and for journalists to secure their statements. The director, Maria Schrader, brings a track record from science fiction and television to a serious examination of truth-telling under pressure. The screenplay, crafted by Rebecca Lenkiewicz from a 2017 article by Kantor and Twohey, anchors the film in real events and real consequences.
Schrader’s film lands five years after the original reporting and, from a distance, its impact appears vast. The project earns praise for recognizing the value of exposing abuse and amplifying survivor voices, a trend that honors Kantor and Twohey for giving hundreds of thousands, perhaps millions, of women a platform to speak about harassment and power imbalances in the workplace.
Early in the film, Jodi attempts to obtain a comment from a prominent Hollywood figure who supported public discussion of assault. The reply comes with a weary sigh and a hard truth: many survivors have spoken out for years, but who believed them—and why now?
Every Truth unfolds in two parts. If the opening hour feels tense and methodical, the second half pulls the audience deeper, making it nearly impossible to turn away.
Too often, narratives of this kind shift the lens to the perpetrator rather than centering the victims and the individuals who helped expose the misconduct. Schrader’s approach sits alongside classic investigative films such as All the King’s Men and Spotlight by elevating the voices of those who reveal the truth and challenge a culture of impunity.
Lenkiewicz’s screenplay stands out as a rich, human tapestry. It steps outside rigid journalistic formats to portray the lived moments of ordinary people, illuminating how the Hollywood system protected the aggressor and silenced the vulnerable. The film also answers why many survivors stayed silent or faced overwhelming legal pressure from powerful studios—showing how a cannibalistic hierarchy can make a single person feel utterly powerless.
Co-stars Carey Mulligan and Zoe Kazan deliver compelling performances, echoing the intensity of other definitive true-crime explorations such as Unbelievable, which highlighted the resilience of survivors and the flaws in investigative routes. The overall portrayal is considered by many to be among the most respectful and precise treatments of the Weinstein narrative.
Since Kantor and Twohey’s reporting, Weinstein’s case has continued to inspire public dialogue about abuse and accountability. The film arrives amid a broader cultural reckoning, where past victims increasingly find their voice and the industry faces continuous scrutiny of its power structures. The work is recognized for its honest struggle to balance the urgency of truth with the fragility of those who bear witness.
This ongoing conversation parallels earlier dramatic depictions, such as The Assistant, a 2019 drama that depicted the daily psychology of oppression in a production environment and the heavy toll on those who try to speak up. By 2022, Every Truth stands as a bold statement about systemic violence and the need for accountability, delivering a clear, fearless examination of the dynamics that enable abuse and the courage of survivors who refuse to be silenced.