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Invisible Life Movie Story Review and Update
You probably don't know about the Invisible Life story. Rich melodramas are an endangered species, especially great ones like Karim Anouz's "Invisible Life" that openly and profusely wear Douglas Sirkian genre norms on their sleeves. Anouz's colorful and warmly-hued film, which rightfully won the Un Certain Regard award at the 2019 Cannes Film Festival, engulfs you in its tropical world of saturated colors and extreme sensations from the very first frame. It then gradually builds to a heartbreaking conclusion that pays homage to the sibling relationship at its center with an open-handed serving of tears.
The adaptation of Martha Batalha's novel "Invisible Life" (by Murilo Hauser, Inés Bortagaray, and Anouz) is consciously retro, unrelentingly emotional, and extraordinarily moving in its depiction of a Rio de Janeiro-set story that begins in the 1950s and spans across decades through the life trajectory of two sisters who were cruelly split apart by patriarchal customs. Eurdice and Guida, the two young women stated above, are members of the traditional Gusmo family, and they are played, respectively, by the ferociously spirited Carol Duarte and the stubborn, unconventionally strong Julia Stockler.
Although having different motivations, the two close-knit, active siblings still manage to carve out a shared haven for themselves in a house that doesn't understand Guida's covert relationships with men or Eurdice's early ambitions to become a concert pianist.
The sisters' middle-class home and the surrounding area serve as Anouz's swift introduction to their hallowed retreat. Initially, we encounter them as they are out on a hike in a hot, bustling forest, where they temporarily become separated and call out to one another in echoes that clearly presage the impending tragedy.
Next, in their shared bedroom, Euridice recalls her most recent sexual encounter with a sailor; as we learn, this is one of many amusing, intimate moments between the young ladies that were interrupted by parents insisting on their presence at dinner, in front of visitors or potential suitors.
The sisters' connection, which was built in the story's small opening chapter with astonishing subtlety and economy, is a strength that helps the women later on in Anouz's movie when they find themselves traveling opposite roads. We wish for their reunion throughout the story and never lose hope on their side because of that intimate relationship that was so well-realized.
The separation in question begins when Guida leaves for Greece with her lover, only to return pregnant and single to a father who vehemently opposes her return to the family home. When this is going on, Guida's mother appears heartbroken but helpless to object because of the structures of the same tyranny that favors men. Then comes the deceitful lie the parents told to ostensibly preserve the Gusmo family honor; believing her parents' claim that Euridice had left to pursue a musical education in Vienna, Guida (now cast aside as a shamed woman) sets out on her own path in a less-than-prosperous area of Rio, struggling to make ends meet while caring for a child with scant resources.
Anouz must have personally experienced matriarchal love and support as well as seen the scary talons of toxic masculinity strangle the female experience in traditional societal units. He must have been a keen observer of womanly struggles in the emotional tradition of South American soaps. How else could he be so sensitive to Euridice's sorrow, particularly when the young woman marries an older man and has her first terribly awkward (and even abusive) sexual encounter on the wedding night? Along with his talented cinematographer Hélène Louvart (a frequent collaborator of names like Agnès Varda and Claire Denis), Anouz orchestrates a conjugal encounter in a stark toilet that manages to be both desolate, non-male-gazy, and unsexy. Because of this, their union tragically resembles a form of date rape when newlywed Eurdice eventually caves into her crude, uncaring spouse.
Anouz continues to follow Guida in a different part of town. Guida works two jobs, takes care of her son, and, despite the logistical and financial difficulties she has, enjoys a more liberated way of life under the protection of former prostitute Filomena (Barbara Santos) in a temporary family. (Except for one instance where she was unable to get her kid the necessary travel documents without the consent of a father who was no longer present.) Despite her persistent efforts, Euridice is unable to have the same sense of independence because her hopes of attending a conservatory are dashed when she becomes pregnant against her will and is unable to use contraception. Even worse, her spouse doesn't understand why practicing the piano at home is insufficient and ignores her protests.
Cast
- Julia Stockler
- Carol Duarte
- Flávia Gusmão
- António Fonseca
- Hugo Cruz
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