"Sneaking Around," by San Francisco-based producer Emily A. Meehan, is a raw, complex film that offers a frank portrayal of modern relationships, set against the backdrop of the varying landscapes that is San Francisco.
The upcoming queer film's social commentary and human moments leave viewers questioning the meaning of happiness, success and love in a city that can just as easily build you up as it can tear you down.
At the heart of the film is Frances Cunningham, played with nuance by Mb Weider. Cunningham, a 56-year-old venture capitalist, is trapped in a loveless marriage with her unfaithful husband, Jay, while navigating her own emotional and sexual identity. She splits her time between a modern Berkeley Hills home and her old college condo in the city that she now rents out as an Airbnb condo.
With her Stanford degree and Tesla, and an ongoing planning of an IPO, Cunningham embodies the classic image of a powerful, affluent white woman in San Francisco. Yet, beneath the surface, she's deeply disconnected, unknowingly searching for more through her pursuit of younger women.
Differing perspectives
The film divides into three explicit acts, or what Meehan refers to as "rounds" in a battle, corresponding to the months of October, November, and December. Each act showcases Cunningham's relationships with three different women. Despite their briefness, these relationships mirror the gaps in Cunningham's life, offering temporary comfort while exposing her fragility.
In round one, we meet Lyric Summers (Natalia Dominguez), a bookkeeper who moved back to San Francisco after losing her passion for singing in Los Angeles. The contrast between Lyric's free-spirited life and Cunningham's material wealth is stark, with their relationship oscillating between romantic tension and moments of awkward disconnect.
Lyric's simple pleasures in intangible aspects contrast with Cunningham's fixation on wealth and productivity, with moments of friction arising from their differing worldviews. Their interactions are both intimate and transactional, with Cunningham often slipping into an almost motherly role and offering unsolicited professional advice, which reflects her own strained relationship with her college-aged son.
The narrative deepens in round two, introducing Miranda (director Meehan), an Uber driver who embodies a quintessential San Francisco spirit: free-spirited and transient. Miranda lives out of her car, finding adventure and fulfillment in her mobile lifestyle, while Cunningham is horrified at the thought of such a life.
This section of the film pokes at the growing disparity between those who thrive within capitalism and those pushed to its fringes. Meehan cleverly depicts the theme of urban decay, with Miranda remembering her youth in the city: bonfires, bong rips, and best friends who've now moved out of the city.
Local landscape
Meanwhile, Frances clings on her privilege, offering to pay for Miranda's therapy in a misguided attempt to "fix" her, without realizing that Miranda doesn't want or need saving.
Throughout the film, San Francisco itself plays a pivotal role, almost becoming a character of its own. Meehan showcases this in smaller notes, like a brief nighttime shot of a coyote wandering the streets, a subtle metaphor for those surviving in the city's changing landscape.
The film crescendos in round three with a dramatic shift in tone and Cunningham's new pursuit with Lani (Mayumi Roller), a clerk for a boutique in Lower Haight. It quickly takes on an explicitly sexual tone, complete with intimate scenes that are both raw and mechanical, underscoring the emotional distance Cunningham keeps from her lovers. Yet, Lani craves more.
Much like the others, this final relationship with Lani shows Cunningham's tendency to impose her worldview on those simply trying to exist outside the societal structures that define her life. As the film reaches its climax, it becomes clear that Cunningham's world is crumbling.
"Sneaking Around" delivers a refreshing and authentic take on modern love and its complexities in an era when casual bisexual and polyamorous relationships are only beginning to gain visibility in mainstream media.
The film also navigates San Francisco's shifting socioeconomic landscape in Meehan's depiction of the city as both a utopia and a dystopia. The complex relationships in each act highlight the widening class divide, pitting the city against itself.
In a city as seductive as San Francisco, the cycles are unrelenting. Meehan's narrative leaves viewers with a thought-provoking message: "That's the story of Francis in San Francisco. A city someone once described as a beautiful woman who lures people with her majesty only to chew her up and spit them out. But every time someone leaves, another person replaces them."
'Sneaking Around' plays Oct. 9 through Oct. 15 at the Little Roxie Theater, 3117 16th St. $6.62-$15.62. www./roxie.com
Never miss a story! Keep up to date on the latest news, arts, politics, entertainment, and nightlife.
Sign up for the Bay Area Reporter's free weekday email newsletter. You'll receive our newsletters and special offers from our community partners.
Support California's largest LGBTQ newsroom. Your one-time, monthly, or annual contribution advocates for LGBTQ communities. Amplify a trusted voice providing news, information, and cultural coverage to all members of our community, regardless of their ability to pay -- Donate today!