Ralph Ellison’s great novel Invisible Man (1952) showed how people of colour weren’t seen for who they were; that problem has not gone away. Another invisible group are old women and writer-director Kleber Mendonça Filho makes visible this group who, because they are not deemed sexy, are not viewed as women and, because they are old, are often thought of as irrelevant. Sônia Braga plays Clara a sixtysomething widow who’s the only one standing out against developers in her beachside apartment in Recife, Brazil. There’s more, however, as the film shows her social life and relationships with her family and the conflict with the developers is often sidelined. The two and a half hour running time, which never drags, gives plenty of space for character development and the performances give us believable people.
Braga is brilliant in the lead as we see a determined personality dealing with adversity, age and body deformity. A short prelude, set in 1980, shows Clara as a young woman but the key moment here is a flashback of her aunt’s as her 70th birthday is celebrated. When a youngster eulogises the aunt we see a very short sequence of a couple having sex; presumably this is her memories of when she was young. I say ‘presumably’ because Filho doesn’t signify the scene clearly as a flashback; there are other abrupt switches in the film. It seems to be suggesting what the aunt would rather be doing rather than listening to her great niece praising her. Sex intersperses the film and is explicit.
Like the unclear flashbacks, there are other arty touches. A gust of wind is shown via magazine pages suddenly fluttering, followed by a door banged shut; this heralds the arrival of the construction company. These are ‘heartless developers’ with a particularly Brazilian air of politeness that (sort of) resolves in the climactic confrontation. Before that we get to see the travails of Sonia’s family and her rather matriarchal way of dealing with them. It’s unnerving that the corruption portrayed, no doubt this happens in the real world, is even before the current right-wing Bolsanaro got elected so things will get worse in Brazil.
By prioritising the family melodrama strands, as well as her battle with the builders, the film sometimes loses focus. However, that is not a criticism as there’s no reason why narratives shouldn’t sprawl and eschew the goal-driven structure of mainstream films. The film was shown at Cannes and won the Cinema Brazil Grand Prize; it was distributed internationally and it’s now arrived on Netflix.