INVISIBLE LIFE (A visa invisível)
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Karim Aïnouz
Screenwriter: Murilo Hauser, Ines Bortagaray, Karim Ainouz based on a novel y Martha Batalha
Cast: Carol Duarte, Juilia Stockler, Gregorio Duvivier, Fernanda Montenegro, Barbara Santos, Flavis Gusmao
Screened at: Critics’ DVD, NYC, 12/9/19
Opens: December 20, 2019
Sisterhood is powerful. That’s a good slogan for our own time but had a different meaning in the 1950s. With “Invisible Life,” director Karim Aïnouz follows up on his “Praia do Futuro” about a doomed relationship to reveal the long story of two sisters who cannot get enough of each other but who are separated in Brazil’s famed city of Rio never to meet again. An American watching the picture can’t help thinking that the fifties, which despite prosperity marked a dull, conventional era in the U.S., has its reflection in the manners of a family in Brazil.
The film feature two women whose bond is obvious in the opening scenes when sisters Guida (Julia Stockler), now twenty years old and Euridice (Carol Duarte) now eighteen, making it all the more tragic that they are fated to be separated by Manuel (Antonio Fonseca)a mean-spirited father whose tyranny, supported by a patriarchal society, is unchecked by man’s passive wife Ana (Flavai Gusmao).
In one fateful night, Guida sneaks out of the house to attend a dance club with Yorgos (Nikolas Antunes), a Greek sailer. Euridice, a classical pianist, looks forward to traveling to Vienna to audition for a conservatory, an ambitious plan especially considering the need to travel by ship to a far-off city. Believing that she will marry her Greek boyfriend, Guida discovers that Yorgos (Nikoas Antunes), after making her pregnant, is off to find more sexual conquests. Guida returns home to a father who, seeing her daughter with child, disowns her and throws her out of the house. What’s more her conservative dad lies, telling her that Euridice had gone to Vienna. Little do the two young women realize that they may never cross paths again.
Guida, having no skills and no home, becomes a sex worker, mentored by an older hooker Filomena (Barbara Santos), who becomes her lifeline given the absence of her own family, while Euridice fares just a little better, having married a brute of a man via arranged marriage from her father, who sees that the young man has money and can treat her well. While Guida does marginally well, her sister, refusing the numb life of church, children and home, has a barrier put in the way of her feminist ambitions.
A Hollywood movie would doubtless have the two women find each other, surely by the close of two years or more. In one clever twist, the desire of the two sisters to meet is thwarted by a creative ploy, leading Euridice, now in her seventies or eighties, ultimately understanding why she is unable to meet up with her long lost sister. Yet director Aïnouz and her co-writers Murilo Hauser, Ines Bortagaray, adapt the novel by Martha Batalha to show the resilience of the two women, a trait that might make you think of how #Me Too people have spoken up, leading to the firing of major celebrities. A musical score that include Chopin and Liszt, and cinematography that brings out the period nature of the piece, help to make this film the obvious choice of the film people in Brazil to set up this candidate for end-year awards.
141 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online
Story – B
Acting – B
Technical – B
Overall – B