In 1987, Rozema made her feature debut with I Saw the Mermaids Singing, a lightweight, alternately enervating and charming comedy about Polly, an aimless young woman who latches onto her new boss Gabrielle, an elegant gallery owner, discovering new things about herself along the way. Although Sheila McCarthy makes a winning heroine, the unfocused film’s literal flights of fancy and narrative tangents are more cutesy than witty.

 

 

With her next film, Rozema would find her own voice, even though she calls it an “abject failure” (whether jokingly or not I don’t know). 1990’s White Room, which has never been released in the U.S., is an unnerving neo-noir about naïve garderner Norm, who witnesses the murder of rock star Madelaine X (an all too briefly seen Margot Kidder), then gets involved with the mysterious Jane, whom he meets at the funeral. Maurice Godin is a wooden Norm, but Kate Nelligan gives one of her best performances as Jane, a sensual and maternal presence that dominates the movie—shot, as many of her films are, in an always photogenic Toronto. 

 

 

In 1995, Rozema made When Night Is Falling, a trenchantly observed study of the intimate relationship between Camille, a married philosophy professor, and Petra, a traveling circus performer. Although it sounds like mere softcore titillation, Rozema’s direction and writing as well as the first-rate acting from her cast—Pascale Bussières as Camille, Rachael Crawford as Petra, and Henry Czerny as Camilla’s professor boyfriend Martin—makes it one of the more memorable of the mid ’90s entries into lesbian drama.

 

Also part of the Roxy retro are Rozema’s first two films made outside Canada, unsurprisingly featuring formidable heroines—and stellar performances—at their center. Mansfield Park (1999) remains one of the most original Jane Austen adaptations, with Frances O’Connor at her most winning as Fanny. And Rozema’s contribution to the 2000 omnibus series Beckett on Film, the one-woman play Happy Days, stars a mesmerizing Rosaleen Linehan as one of Beckett’s greatest creations, Winnie, who’s buried up to neck in sand.

 

 

Too bad that Rozema’s most recent feature, 2018’s Mouthpiece, does little with the conceit that Norah Sadava and Amy Nostbakken brought to their original play—both enact aspects of the metaphorically named Cassandra, a woman dealing with her mother’s death. Only an admittedly perfect final image redeems this otherwise one-note film, but that shouldn’t detract anyone from seeing the other titles in this long-awaited retrospective.