As a supporter of thought-provoking cinema that delves deep into the human psyche, I find “Invention” to be a masterpiece that resonates profoundly with my own experiences of loss and grief. The film’s innovative blend of fiction, autobiography, and documentary is nothing short of genius, offering a unique perspective on the universal themes of love, loss, and the search for truth.
Following her father’s passing, Carrie (Callie Hernandez), the main character in “Invention,” inherits a patent for a unique electromagnetic healing gadget. This device was inspired by one that her deceased father had owned, a vibrant cylinder of tubes, filled with multicolored light and producing strange electric sounds, resembling a prop from a science fiction film.
In an interview with EbMaster, Los Angeles director Courtney Stephens, discussing her film “Invention” premiered at Locarno, refers to the central enigma as the “mystery machine.” Carrie, the protagonist, grapples with understanding this peculiar device and her father’s passing – a towering figure in her life who transitioned from being a doctor into a spiritual healer. Her trustworthiness was often doubted, adding to Carrie’s struggle to come to terms with his death and legacy.
At first glance, the movie titled “Invention” delves into the common human journey of mourning a complex loved one. What makes this film stand out, though, is its groundbreaking format. This year at the Locarno Film Festival, “Invention” was entered in the Concorso Cineasti del Presente category. While it’s categorized as ‘fiction,’ it doesn’t quite fit into that box easily. It can be described as a fusion of personal accounts, factual storytelling, and footage from Hernandez’s deceased father’s archive, offering a richer narrative experience than the conventional one might expect.
Blending various story genres serves a profound intention, resulting in a hazy division between fairy tales, myths, and American folklore. This creative work poses a thought-provoking question: Aren’t they all essentially intricate theories about hidden truths? This examination is conducted with the utmost delicacy and impartiality.
During the process of creating this movie, we came across numerous intriguing individuals. The tales of conspiracy theories, which we also acknowledged, were intertwined with a sense of optimism – an optimism inherent in narrative storytelling. Essentially, conspiracies are merely narratives themselves.
Stephens portrays “Invention” as a “journal of its own creation.” This movie was crafted amidst the writers’ strike and following the COVID-19 pandemic, mirroring the creative liberty the co-writers/producers wished to employ in storytelling, as well as the external influences that impacted its production process.
“Hernandez stated that they discovered the type of movie they were creating during production. They had always planned to produce a ‘dead dad’s film,’ yet they were uncertain about its specific nature.”
Together with cinematographer Rafael Palacio Illingworth and a small group of actors, Stephens and Hernandez undertook a modest project aimed at revealing complex emotional realities behind uncommon ways of mourning, as well as exposing the fragile structure of beliefs that support American society. During this venture, Hernandez handled the sound recording herself, while cast members pitched in with various tasks such as laundry, cooking, lighting, or whatever duties were required.
Stephens explained the main emotional journey of Carrie by saying, “We were curious about the Grieving Process, challenging the notion that it follows a seamless, structured path. Instead, grief is often chaotic; it’s unpredictable. You endure it because time moves forward, and you’re compelled to adapt and transform.”
Hernandez added, “We started off with a shared perspective – grief often controls us rather than the other way around.” He then jokingly remarked, “And you’re quite flexible, like a stuffed doll.”
The compassionate nature of Hernandez’s portrayal is evident in his sensitive lead performance. Initially, Carrie encounters the monotonous, awkward bureaucracy related to death and the unsettling enthusiasm of her father’s devoted followers, such as Babby (Lucy Kaminsky), with a seemingly rigid demeanor. However, despite her initial wariness towards these characters, it was crucial for Stephens and Hernandez to approach them with empathy. Rather than focusing on condemning the sometimes strange realm of medical conspiracy theories, they decided to examine “the impact it has on people, rather than a drive to criticize.”
Over time, a seed of optimism sprouts within me, and I find myself comprehending why my father was such a devoted believer. I no longer ponder if the machine truly functions; instead, I delve deeper into its mysteries. As the narrative unfolds, the film subtly steers away from the diversions we cling to during grief. Stephen’s words resonate profoundly, “Believing in something can be a means of coping with your despair.” In this journey, we witness the erosion of the American Dream in a post-Covid world, symbolizing a certain brand of hopefulness.
Finding comfort lies in understanding, as Hernandez and Stephens describe, that every seemingly insignificant encounter, whether it’s ordinary, enchanting, foolish, or brilliant, plays a role – even within the vast, dramatic canvas of sorrow.
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2024-08-11 18:16