I’ve Heard the Mermaids Singing

The film establishes Polly as the narrator and as the secretary of Gabrielle's private art gallery. Her whimsical fantasies frequently interrupt the present, revealing how she copes with a solitary life. The audience learns that Polly is clumsy, undereducated, socially awkward, and often literal in interpretation, yet she remains hopeful.

Polly lives alone and keeps to herself, enjoying solitary bicycle rides and photography as a hobby. Her lack of friends and education limits her employment opportunities, and she survives on small, uncertain jobs. The film emphasizes her inner world as a sanctuary from social awkwardness.

Mary, Gabrielle's former young lover and a painter, returns after an absence. She and Gabrielle rekindle their relationship, despite Gabrielle's fear that Mary is too young and she is too old. The relationship complicates the gallery's dynamics.

Polly, drawn to Gabrielle, decides to submit her own photographs anonymously to the gallery. Her hope is crushed when Gabrielle dismisses the effort as 'simpleminded.' The rejection deepens Polly's longing and self-doubt.

Crushed by the rejection, Polly temporarily quits the gallery and sinks into a depressive mood. She withdraws from her usual routines, retreating to a sense of failure and loneliness. Her mood foreshadows how close she is to giving up.

Polly makes a return to the gallery, hoping for some connection. Mary notices one of Polly's photographs, and its quiet depth hints that Polly's talent may finally be seen. The moment suggests a potential shift in how Polly is perceived.

The audience learns that Mary and Gabrielle have been passing off Mary's paintings as Gabrielle's own. Polly discovers the deceit and confronts Gabrielle, tossing a cup of tea in fury. The confrontation marks a turning point in their fragile relationships.

Overwhelmed by the betrayal and the social costs, Polly retreats to her flat in anguish. She grapples with the sense that her quiet world has been violated and that her hopes were misplaced. The apartment becomes a private refuge from the gallery's conflict.

Mary and Gabrielle visit Polly at her flat and realize that the discarded photographs are Polly's work. Their recognition changes the dynamic, offering a possibility of reconciliation. Polly's contributions are finally seen, but the personal wounds linger.

Gabrielle and Mary look at more of Polly's photographs, beginning to appreciate her perspective. In a short fantasy sequence, the three are transported to an idyllic wooded glen, a metaphor for the beautiful world Polly inhabits. The ending suggests that unseen, plain people may harbor extraordinary inner landscapes.