She Must Be Seeing Things

She Must Be Seeing Things is an intense exploration of the complexities of love, trust, and sexuality, set against the backdrop of the bustling city of New York. This 1987 film, directed by Sheila McLaughlin, stars a promising cast that includes the talented duo of Sheila Dabney and Lois Weaver. Supporting performances by Ed Bowes and John Erdman provide depth and diversify the characters in this engaging movie.

The film dives deep into the world of its protagonists—Jo, a lawyer played by Sheila Dabney, and her partner Agatha, an independent filmmaker portrayed by Lois Weaver. Their love is passionate and profound, yet rattled by an unsettling undercurrent of suspicion and mistrust bubbling underneath. When Agatha begins to doubt Jo's fidelity, the film unravels a rich tapestry of emotions and the inherent human struggle to understand one's partner, trust them and the paranoia that creeps in during the process.

Dabney and Weaver provide strong, praiseworthy performances, balancing both the intellectual and visceral aspects of their roles very well—a delicate feat to master. Dabney skillfully presents Jo as a complex woman, torn between her career and her deep-seated loyalty to her partner. Simultaneously, Weaver skillfully embodies the character of Agatha, an independent filmmaker. She depicts the descent into insecurity and doubt with a sensitivity that strikes a chord with the audience, making the unraveling story of mistrust and love even more engaging and relatable.

Ed Bowes and John Erdman enrich the movie with their multifaceted portrayals in the supporting roles, carving out a distinctive place in the narrative. Bowes shines in his portrayal of a man who gets involved in the tumultuous relationship between Jo and Agatha, adding another layer of complexity to the entwining storylines. Erdman, with his convincing performance, ramps up the intrigue a notch higher.

One of the major strengths of 'She Must Be Seeing Things' lies in its nuanced portrayal of lesbian relationships during the late 80s. The film neither glamorizes nor does it victimize its leading characters. Instead, it provides a realistic and human perspective on their lives, highlighting the bumps and complexities of navigating a romantic relationship while dealing with societal pressure.

Director Sheila McLaughlin exhibits a great knack for depicting the delicate intricacies of human interactions and belief systems. Her keen sense of observation and adept analysis of the interpersonal dynamics unfolds in every frame of the film. The filmmaker’s prowess is evident in her in-depth exploration of complex themes like love, trust, betrayal, and self-discovery. Coupled with this, the screenplay also subtly manages to shed light on aspects of feminist film theory and female subjectivity amidst these intricate plot lines.

The Big Apple, with its vibrant, fast-paced life, serves as an engaging backdrop for the narrative. The city's energy seeps into the movie, mirroring the complexities and pace of Jo and Agatha's stormy relationship. Cinematographer Beth B expertly captures the city's spirit and the story's raw emotion, transporting the viewers into the tumultuous world of the protagonists.

‘She Must Be Seeing Things’ is highly appreciated for its powerful performances and thought-provoking script. Despite the intense, heavy themes the film does incorporate elements of humor and lighter moments providing a well-rounded experience for the viewers.

Overall, 'She Must Be Seeing Things' is a must-watch for anyone interested in exploring queer cinema that profoundly deals with human relationships and emotions, the turmoil within oneself when dealing with love, trust and doubt. This film not only makes viewers reflect and think about their understanding of love and trust but also brings to light a comprehensive representation, shedding rare insight into lesbian relationships in the late 80s.