The Twin Flower Of A Broken Home Spanning Half A Century Of Women'S Odyssey

This year's Cannes Film Festival has been postponed indefinitely due to the epidemic situation. Looking back a year ago, the Korean movie "parasite" has just won the Golden Palm Award. In the latter half of the year, the movie that leveraged the international film market undoubtedly dominated the film circles' discussions on Cannes. So it is a pity to take the Invisible Woman of Cannes's "one concern" unit award and fail to make the women in the film more widely seen.

The film tells a story about a pair of sisters who met with each other when they were young in Rio De Janeiro, Brazil. The first time we saw sister Jeddah and sister Alice, they were leaving the lush damp Amazon rainforest and heading home before the rain. Jeddah did not hesitate to start at first, while jalie Dixie stayed at the waterside for a moment. At different paces, they walked away in the inaccessible trees, and the two people who could not see each other shouted their names to the surroundings. The shouting echoed over the rain forest. They were under the same cloud and lost contact.

The opening ceremony is like a highly condensed prophecy. The two sisters' character and what will happen to them are written into the accident. Jeddah soon decided to follow a handsome sailor to go to another place, while the late maturing EDI Dixie followed the traditional arrangement to set up a family step by step. When Jeddah realized that she was wrong when she was confused by love, she returned to her hometown with a big belly, but was rejected by her father. At the same time, with the idea of learning piano playing in Vienna, she is being imprisoned by family life, and the music ideal seems to be getting farther and farther away from her.

In the 2.5 hours of the screen, it is not easy to accommodate a pair of sisters for nearly a century. The film parallels the two people's experiences. Most of the life section selected is about fertility and death. Without deliberate preaching and strengthening women's hardships, the two sisters' tortuous lives have not been dramatizely wrapped up too much. The invisible woman shows a long bondage of women in a closed Brazil society through seemingly everyday scenes.

Jeddah and elizdie did not believe that their sisters would be severed from their own cruelty, but the letters they wrote to each other had never reached their destination in the conspiracy of their parents and other relatives. When they encounter setbacks, we can always hear the content of the letter as a spectator. Jeddah thought his sister was practicing life in Vienna, but never realized that her sister had returned home. The words in the letter tell of jealousy and regret, and their yearning for each other is mixed with the yearning for another kind of life.

The Portuguese name of "Invisible Woman" literally translates from "invisible life", and the original and English titles of the film are written by Yulidice Gusmao's invisible life. The title of the Chinese translation is "my hidden life". These different translations have similar keywords, that is, the heroine is not faced with life. Director Kareem enosi, who adapted the film and television adaptation of novels, weakened the image of the hero of Alice, and placed the narrative emphasis on her and Jeddah. At the same time, she presented two completely different but equally helpless lives, so that they could cast their wishes on the lost sisters and lose their way out of the predicament.

From beginning to end, the rich colors add to the film the South American customs. When the two extraordinary women's life rolls out in this context, the high saturation tone is also emphasizing their vigorous vitality. The same bright and full is the emotional experience brought by the movie. Invisible women always hit the audience's empathy point accurately. When we witness the important moments of their being invisible, and understand their weakness and pain under forbearance and tenacity, it is hard for us not to be touched.

But delicate and highly seditious images need to be treated with caution. Nowadays, the film making voice and empowerment for women has gradually become a trend, and the practice of flattening and symbolizing male roles is also common. The strong and arbitrary father and selfish tyrannical husband are the most common stereotypes in recent years. Does the masculine face of a face detest the social and artistic value of the Invisible Woman? Is the film a creative speculation in accordance with the trend of the times or a sincere work with humanistic concern? The answer to this question may be thousands of thousands of faces, but in any case, the final difficult question remains: has the female predicament changed from time to time? This women's Odyssey, which began in 1950, will enable us to see the shadow of our life on the other side of the globe at the moment?

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