Awarded in Cannes and looking for a place at the Oscars, “A Vida Invisível” tells the story of two female fortresses | Gaucho

Awarded in Cannes and looking for a place at the Oscars, “A Vida Invisível” tells the story of two female fortresses | Gaucho

“Uterine” and “vaginal”, as defined by Fernanda Montenegro, A Vida Invisível is a film of overwhelming sensitivity about the condition of women in Brazilian society. The sixth feature film by Ceará's Karim Aïnouz, winner of the Cannes Film Festival's Um Certo Olhar show, will have a new preview round in Porto Alegre, this Friday (15) and Saturday (16) - comes on on this 21st of November and already has a date to reach the streaming: it will be available on the Amazon Prime platform from December 20th.

The Invisible Life can lead Fernanda Montenegro to a second Oscar nomination - this is the production chosen to represent Brazil in the biggest industry award, overcoming the Bacurau phenomenon. The plans closed on the face of the 90-year-old actress, in the final act of A Vida Invisível, are already historic, due to the symbolic sublimation of the artist who has been an active voice against censorship and the impact they have on the outcome of the emotional story of two sisters who live between Rio de Janeiro in the 1950s and dreams of going to Europe towards independence in the following years.

It is an adaptation of the novel A Vida Invisível by Eurídice Gusmão, by Martha Batalha. The depersonalization of the title, in the film, is Aïnouz's first success, who, after all, constructed a narrative not about one, but, rather, two “invisible lives” - that of Eurídice and also that of her sister, Guida.

They are interpreted, respectively, by Carol Duarte and Julia Stockler (Fernanda appears only in the epilogue, after two hours of projection). Accomplices in the small day-to-day subversions, as the initial sequences make clear, they find in each other the support to face the machismo that permeates social relations and is shown to be embedded in the family institution, something that passes from generation to generation, as it can be seen when Eurídice leaves her parents' address to marry (her husband, understanding only to a certain extent with her personal ambitions, is played by Gregório Duvivier).

It is the forced separation of two people so close together that it will mark their destinies, as we followed from the second act. The camera invariably close to the bodies shapes a geography of their intimacies, much more than the places where the sisters live. Even so, Rio in the late 60s resurfaces splendidly in the reconstitution of its alleys, taverns and houses up the hills, mainly because the director is not interested in postcards, but in what they hide - lives on the margins of images that usually identify these places.

Aïnouz is a filmmaker with long shoes based on great characters, from Madame Satã (2002) to Praia do Futuro (2014), passing through O Céu de Suely (2006) and O Abismo Plateado (2011), in which he passionately films intense journeys of men and women whose trajectories are capable of transforming them into true fortresses. Invisible Life is, among these films, the one with the most classical dramatic structure and the one that most uses the codes of melodrama, which can at the same time bring it closer to a wider audience and enhance its impact on this audience.

Great moments, including the imminence of a reunion, on Christmas Eve, punctuate the parallel days of Eurídice and Guida. They are invisible to each other, but their presence has strength and, thanks to Aïnouz's camera, a dignified visibility in front of the viewer.

In previews this Friday (15) and Saturday (16) in theaters. It opens next week, the 21st (Thursday). The film will be on Amazon Prime on December 20th.

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