There are a few experiences that we can classify as being universal, and the desire to find someone with whom we can spend our lives is one of the most common, and alongside parenthood and death, has existed as a philosophical concept since the dawn of our consciousness. Yet, it isn’t always easy for some people to find that special person with whom they can share their lives, as made quite clear by Laura Cahill in her play Hysterical Blindness, which was adapted for the screen by the playwright herself, who worked closely with director Mira Nair to bring this wonderful story to life. The film focuses on the experiences of Debby Miller, an ordinary woman who lives in a working-class neighbourhood somewhere in New Jersey in the 1980s, following her as she interacts with various characters, including her dedicated mother who has recently been given a second chance at love when she starts a relationship with a patron at her diner, as well as her best friend who seems to have her life in order, but in reality struggles from the same crisis of identity that comes with their lifestyle, which is all about one-night-stands and the subsequent heartbreak when they realize that whatever arbitrary man they go home with after their regular visits to their local bar is not the love of their lives. It’s a funny, honest and heartfelt film, and one that is executed with such extraordinary dedication by Nair, who has often been viewed as one of the most important directors of her generation, with her precise and meaningful approach to the art of filmmaking being exceptionally well-utilized in this film, which remains one of the more lovely works in her storied career, and all the proof we need to realize that she is one of the most consistently strong filmmakers, someone who can handle any material and produce something worth our time, of which Hysterical Blindness is something of a landmark work, even if it seems more simple than usual on the surface.

While not at all the driving factor behind her films, but rather a very common theme that inspires the work she has made over the years, one of the subjects that Nair has often focused on as the foundation for many of the stories that she helms is womanhood, which is something that she has frequently explored, moving across generations and cultures to present vibrant, meaningful depictions of femininity, both the challenges that come with being a woman at any point in history, as well as the internal desires and existential quandaries that are almost universally felt in some way. A film in which the perspective is almost entirely through the eyes of its female protagonist and a few other women in her life, Hysterical Blindness presents an intergenerational tale, looking at the trials and tribulations of different women as they navigate their femininity – whether it Debby and her best friend trying to find lovers at any of their local haunts, or Virginia realizing that it is not too late for love when she is swept off her feet by someone who makes her feel loved, or the young Amber beginning her journey towards finding her own identity as she approaches her teenage years, which bring many changes that can be simultaneously exhilarating and intimidating. Arguably, this is a film in which every major moment seems to be driven by the relationship these women have with men (or lack thereof), but there is much more to Hysterical Blindness than meets the eye, and everything is very carefully calculated – it is not an accident that the conclusion of the film sees the four main female characters gathered in the front yard of a small New Jersey home, with the camera slowly panning out as the seminal feminist anthem “Girls Just Wanna Have Fun” plays as we bid farewell to these individuals with whom we have just spent some time. Love is not the ultimate goal, but rather the sense of confidence and self-worth that emerges in the aftermath of either finding the perfect match, or having a relationship fall apart, is what is most valuable, and this is primarily what Cahill endeavoured to explore with this charming but profound story.

At a cursory glance, Hysterical Blindness doesn’t seem to be a particularly major work in terms of the story or execution, which many would agree is pleasant but nothing particularly groundbreaking or daring, especially considering this is being directed by someone whose career includes revolutionary works like Monsoon Wedding and Mississippi Masala, both of which remain some of the most important films in terms of representation and raw talent. However, once we spend some time with this film, we can start to understand the approach being taken throughout its construction. This is a very simple story about a woman and her relationship with her mother and her best friend, both of whom are seen as her support system that she takes for granted, only realizing after some introspection that they are going through a similar experience, feeling the same insatiable pangs of loneliness and despair that come with being a woman who is not traditionally desirable, and simply seeks a companion with whom she can feel a sense of belonging. The emotional content that underpins Hysterical Blindness is tremendous, and we find that Nair makes many interesting choices in the process of bringing this story to life. The emotional resonance is what gives this film such a bespoke sensibility – it doesn’t do anything we haven’t seen before, and it is comparatively not all that different from the usual tender dramas about heartbreak and discovering one’s sense of individuality in the midst of falling out of love – but its how the director navigates these moments that make such a profound difference, with every intricate detail of these characters and their existential journeys being the source of so much wonderful honesty. The balance of comedy and drama is important – Hysterical Blindness is not a funny film, but it is certainly not one that avoids moments of humour to help soften the heartbreak that defines such a film, with every small, intimate detail being masterfully conveyed on screen with extraordinary honesty and deeply sentimental value, which is what elevates this film and makes it so captivating in a way that is never anything short of entirely surprising. The more dramatic moments feel authentic and the film is never overwrought, which is quite an achievement for a story that plumbs the emotional depths of the human condition with this amount of dedication.

While the story at the heart of Hysterical Blindness is objectively very touching and genuinely moving, the reality is that the reason this film has managed to retain some cultural relevance is because of the cast. Based solely on the story, it seems like fodder for the reliable but otherwise inconsequential films produced for television that are genuinely moving but not particularly memorable (and its true impact in this regard only happens once we are immersed in the film) – but with such an impressive ensemble, it would be very difficult to ignore this film. The protagonist is played by Uma Thurman in one of her most thoughtful, honest and beautifully simple performances – she was usually cast in genre films that made use of her distinct style of acting, but very rarely managed to take on roles that allowed her the time and space to develop as an actor, which is precisely why Hysterical Blindness makes such an impact since it is a straightforward film in which there aren’t any ambitious tricks or techniques to obscure her raw talent – it consists of Thurman, a strong script and meaningful direction, the three working in tandem to make this one of her best performances. In addition to Thurman, we have Gena Rowlands delivering yet another exceptional performance as her mother, a woman who strives to lead a happy life, and finally earns another chance at love, this time coming on behalf of the character played by Ben Gazzarra (and the reunion of two of John Cassavetes’ greatest muses is a wonderful detail, especially considering we are dealing with a film made by someone who also embodies the same fierce artistic independence), turning in the best performance in the film, and one of her most quietly devastating and deeply complex. Thurman and Rowlands are extraordinary, and seeing them play off each other is incredible – the physical resemblance is tenuous at best, but yet we never doubt for a moment that they could feasibly be mother and daughter since they work to interweave their characters in not only the very obvious ways but also in the smaller details that make both such incredible performances that define and propel this terrific film.

The elements of Hysterical Blindness that mean the most are those that are related to the feeling of deeply sentimental humanity. This is a character study about lonely people trying to find their place in the world, which they initially believe depends entirely on the relationship they have with lovers when in reality one can’t ever love another person if they can’t realize their self-worth. It’s not a complex concept, and the film doesn’t do anything particularly groundbreaking – but its humour, pathos and genuine humanity are unquestionable and poignant, and help us understand exactly why there is so much value in this simple but evocative story. Anchored by incredible performances by Thurman and Rowlands, truly two of our finest living actors, and told with humanity and sincerity by a director who has regularly shown herself to be extremely skilled in all matters of exploring the human condition with profound honesty and detail, Hysterical Blindness is a wonderful film, the kind of simple story that becomes all the more impressive when we realize the scope of the work that went into its creation. Poignant, honest and deeply moving, it is difficult to imagine anyone can see this film without feeling those familiar emotions of melancholy longing and the joy at realizing the importance of self-love, something that is not always easy to accomplish but is nonetheless vitally important for our sanity and the ability to build confidence. A tremendously moving combination of a lovely story and a strong message, Nair truly crafted a wonderful and charming drama from this material, which remains a truly most endearing depiction of the lives of the heartbroken, and their journeys towards finding a sense of belonging and self-worth, which are not always where one expects them to be found.