Film
I've Heard the Mermaids Singing
A tender, funny indie film about an awkward gallery secretary who falls for her boss, only to discover that admiration and reality are distant cousins. Sheila McCarthy is luminous as Polly, stumbling through life with grace and genuine warmth. It's a film about longing, artistic authenticity, and the peculiar ache of unrequited love—but it knows how to laugh at itself.
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Chungking Express1994
Two cops and two women orbit each other through neon-lit Hong Kong in a film suffused with romantic melancholy and visual invention. Wong Kar-wai captures that specific ache of wanting someone you can't have with style that feels earned.
But The plot is gossamer-thin and deliberately so. If you need narrative propulsion or clear dramatic stakes, you'll find the pacing maddening.

Tampopo1985
A Japanese film about an obsessive quest to perfect ramen that becomes a meditation on desire, craft, and devotion. It's playful and strange while remaining genuinely moving about what it means to love your work.
But It's anarchically structured with absurdist detours that have nothing to do with ramen. The tonal whiplash will lose you if you're after conventional storytelling.

The Killing of a Sacred Deer2017
A slow-burn psychological thriller about a surgeon whose universe collapses when his past catches up with him. Yorgos Lanthimos builds dread through meticulous control and performances so precise they feel ritualistic.
But It's bleak, glacially paced, and refuses to offer emotional release. The artificiality of the dialogue and blocking could feel cold rather than stylish.

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The wildcard
Something you would not have found on your own.
The Watermelon Woman1997
Both films are about the yearning to understand someone else's artistic truth, and both use formal playfulness to suggest what happens when reality doesn't match our romantic vision of it.
Cheryl Dunye's experimental documentary-fiction hybrid about a young Black lesbian filmmaker searching for the story of a Black actress from 1930s cinema. It's part mystery, part manifesto, endlessly creative about how we construct identity and reclaim history.
But It deliberately blurs documentary and fiction in ways that can feel deliberately difficult. Some viewers find the fragmented, essayistic style frustrating rather than liberating.

More like this (7)
Mulholland Drive2001
David Lynch's fractured meditation on aspiration, identity, and Hollywood cruelty. Naomi Watts gives a career-best performance, and the film remains genuinely mysterious—not obscure, but alive with real ambiguity.
But At 147 minutes, it demands patience and rewards obsession rather than satisfaction. You won't leave with answers, and some people hate that in a film.

Stalker1979
Andrei Tarkovsky's philosophical sci-fi about three men walking through a mysterious zone seeking a room that grants wishes. Meditative, profound, utterly unlike anything else—about desire and what we're really chasing.
But It's 163 minutes of deliberate pacing and long takes. Tarkovsky does not hustle. This is either transcendent or tedious depending on your tolerance for contemplative cinema.

The Farewell2019
Lulu Wang's bittersweet comedy-drama about a Chinese family that decides to hide their grandmother's terminal diagnosis from her. Tender, funny, and wise about loyalty, cultural difference, and how we lie to people we love.
But The emotional register can feel slight to viewers wanting heavier drama. Some moments rely on cultural specificity that might not land as hard if you're unfamiliar with that context.

When Harry Met Sally...1989
Rob Reiner and Nora Ephron made the gold standard romantic comedy: two people circling each other for years while denying the obvious truth. It's smart, genuinely hilarious, and surprisingly touching about friendship and desire.
But It can feel a little prescribed in how it resolves its romantic tension. The New York romanticism might feel dated or saccharine depending on your mood.

Before Sunrise1995
Richard Linklater follows a man and woman walking through Vienna over one night, talking about everything and nothing. It's almost entirely dialogue, and it's magnetic—two people falling in love through conversation.
But Nothing happens except talking. If you need plot or action, you're watching the wrong film. The runtime feels longer than it is.

The Straight Story1999
David Lynch's only G-rated film follows an elderly man riding a lawnmower across Iowa to reconcile with his brother. It's gentle, funny, and genuinely moving—Lynch discovering beauty in Americana and quiet grace.
But The pacing is glacial by design. There is almost no conflict, and the sentiment could easily tip into mawkishness if you're not in the mood for it.

The Woman in the Window1944
Both films are about a protagonist whose romantic or idealized vision of someone leads them into a web of painful truths. Both treat this as comedy and tragedy simultaneously—not quite either, but something sadder underneath.
Fritz Lang's blackly comic film noir about a bored housewife who witnesses a murder across the street and becomes entangled in a dangerous game of appearance and reality. It's visually stunning and morally complex about how we misread what we see.
But It's a 1944 film with dated sexual politics and some pretty grotesque misogyny baked into its ending. The pacing is deliberate rather than propulsive, and the plot resolutions feel arch.

People
Cast
Sheila McCarthyPolly Vandersma
Paule BaillargeonGabrielle St. Peres
Ann-Marie MacDonaldMary Joseph
Richard MonetteClive
John EvansWarren
Brenda KaminoWaitress
Patricia RozemaWoman in Office Window (uncredited)
Directing
- Louise ShekterContinuity
- Patricia RozemaDirector
- John PaceFirst Assistant Director
- Arlene Hazzan GreenSecond Assistant Director
- Tom QuinnSecond Second Assistant Director
Writing
- Patricia RozemaWriter
Production
- Maria ArmstrongCasting
- Ross ClydesdaleCasting
- Don HaigExecutive Producer
- Alexandra RaffeProducer
- Patricia RozemaProducer
- Alexandra RaffeProduction Manager