The first time I wanted to watch this Brazilian movie "The Invisible Woman"# was because of a friend's experience in watching the movie: "People who have been fragmented can reorganize their normal family relationships later... It's difficult, but it's not a big deal. The." The film won the Un Certain Regard Award for Best Picture at the 2019 Cannes Film Festival. I have seen very few Brazilian films, the last one was the impressive "Crazy Heart of Nice", a feminist film that still strikes me deeply. The story is actually not bizarre. The protagonists are a pair of sisters in Brazil in the 1950s. One paid a heavy price for freedom and love; Bonds with children. My sister was kicked out of the house because she was unmarried and pregnant. Her temporary family with an elderly prostitute and landlord reminded me of "The Thief's Family". The blood relationship is an unselectable bond, and the family who chooses oneself and can get through the hardships together is always the purest connection. The hardships of women at the bottom are always accompanied by poverty, physical fatigue and pain, and frustration with men. The delicate and intimate support and companionship between women and the laughter of children are the only gifts in life. My sister has always been obedient, married a man whom her parents liked, and being brutally taken away by this man called her husband seemed to herald her own destiny: it was impossible to get the respect she wanted in daily life, much less. It is possible to realize your dream of being a pianist. The trick of fate, the separation of the two sisters for nearly half a century, in the end, the sister has passed away, leaving only the elderly sister, who caressed the letter that the sister wrote to her back then, recalling the beauty of the past. In my sister's mind, her later life is the opposite of her hard life: she is the brilliant, dazzling and elegant pianist who lives a happy life in Vienna. A day in a floating life, a dream in a floating life, the moment when my sister finally meditated on the terrace, in addition to her endless thoughts of her sister, maybe she really thought she had that version of her life as a beautiful pianist... PS: This female movie reminds me of I personally like Hu Ye's comments on Naruse Mikio's female films: Hideko Gao in "Floating Clouds" said that "there is never any power of God", but in the end, he never thought about giving up. Eileen Chang said that any deep relationship makes people vulnerable, feeling completely small and helpless before fate. I think it is the greatness of man to be able to resist this without the basis of religion or other ideology. These words can be used to describe the women in Naruse's movies...
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