GLASGOW FILM FESTIVAL 2020 - Nematoma (Invisible)
GLASGOW FILM FESTIVAL 2020
Invisible (Nematoma) is a tirelessly grim little tragedy that never finds stable ground. Ignas Jonynas’ sophomore feature is not without material that intrigues, as the entire film is built around a puzzling connection between two different stories that is slowly uncovered. However, screenwriters Ignas Jonynas and Kristupas Sabolius seem confused about how to deal with the film's characters and concepts.
The film constantly switches perspectives between Jonas (Dainius Kazlaukas) and Vitas (Darius Bagdziunas). Jonas is a down-on-his-luck dancer who makes another desperate attempt at recognition when he auditions for a talent show while pretending to be blind. Vitas has just been released from prison after being wrongfully convicted of murdering his wife. From the first frame of Denis Luschick's gorgeous nature photography, the audience can sense a dark past looming over the characters’ heads; a past that is hinted they have shared together.
The thread between the unlikely pair remains subtle and cryptic for a large portion of the runtime, teasing at a revelation that will paint a clear picture over their respective arcs. However, applying this narrative structure suffers from thematic vagueness that further alienates its audiences from the characters. There’s still a dose of suspense when the two worlds begin colliding together, but it's not enough for audiences to invest in the journey.
There’s even less weight to the themes the film is trying to convey. While Vitas’ story largely centres around his urge for vengeance, Jonas’ narrative is tremendously more unfocused. Peppered with perplexing interpretative dance sequences, it offers a gentle romance between Jonas and his dance partner, Saule (Paulina Taujanskaité), which oozes with sensual energy through touch and movement. However, at the same time, it attempts a commentary on the media industry, cashing in on consumers’ sympathy of people with disabilities. Near the 60-minute mark, these are overshadowed and forgotten by a revenge plot that's tied to the sea of hidden lies and fabrication which envelops the frustratingly obscure structure.
Nonetheless, the ending is effectively provocative with its cruel irony — even if it does seem oddly abrupt. With more refined characters and stronger individual scenes — that would perhaps explain their predicament — rather than ambiguous interpretative dances and brooding moments of silence, Invisible (Nematoma) would be a richly-layered drama. In the end, Ignas Jonynas' film seems like an afterthought to a small tribulation that is close to disappearing.
