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A journey through grief and belief: Exploring ‘Invention’
After the death of her father, Carrie, portrayed by Callie Hernandez, finds herself the unexpected heir to a peculiar patent: an electromagnetic healing device. This contraption, a flashing cylinder of multicolored tubes emitting odd electrical noises, seems like something straight out of a sci-fi movie. It’s modeled after one her own late father possessed, adding a layer of personal intrigue to the narrative.
The mystery at the heart of ‘Invention’
Los Angeles-based director Courtney Stephens, in discussing her film “Invention,” describes the machine as “the mystery at the center of the film.” Carrie, grappling with her father’s death, struggles to process the loss of a larger-than-life figure—a doctor turned “spiritual healer” whose trustworthiness was always in question. This complex relationship sets the stage for a deeply personal exploration of grief.
Blurring the lines between genres
On the surface, “Invention” delves into the universal human experience of grieving a complicated loved one. What sets the film apart is its innovative format. Competing in the Concorso Cineasti del Presente category at the Locarno Film Festival, “Invention” defies simple categorization. It blends autobiography, documentary, and archival footage of Hernandez’s late father, offering a narrative that transcends traditional storytelling.
The power of storytelling and conspiracy
This blurring of genres serves a higher purpose, merging fairytales, mythology, and American idiom into a cohesive narrative. The film poses an intriguing question: Aren’t all these elements just really good conspiracy theories? This exploration is carried out in a gentle and non-judgmental manner.
The filmmakers noted, “We met a lot of interesting people while making this film. The yarns of conspiracy—there was a hopefulness in these, a hopefulness in storytelling. Conspiracies are just stories.”
A diary of its own making
Stephens describes “Invention” as a ”diary of its own making.” Created during the writers’ strike and shortly after the COVID-19 pandemic, the film’s format reflects both the freedom with which the co-writer/producers wanted to explore the story and the external circumstances that shaped its production.
“We really found the film as we were making it,” Hernandez said. “We always knew we wanted to make a dead dads film, but we weren’t sure exactly what it would be.”
A collaborative effort
Along with cinematographer Rafael Palacio Illingworth and a handful of actors, Stephens and Hernandez embarked on a “shoestring” mission to demystify inscrutable emotional truths about unconventional modes of grieving. Hernandez did her own sound micing, and cast members helped out with various tasks, from laundry to cooking.
“We were interested in the Grief Process, a little bit puncturing the idea that there’s this smooth, orderly way through these things,” Stephens elaborated. ”Grief is disappointing; it’s disorganized. You make it through because time passes, and you have no choice but to be changed.”
The raw portrayal of grief
This empathetic ethos is fiercely reflected in Hernandez’s vulnerable lead performance. At first, Carrie faces the boring, uncomfortable bureaucracy of death and the unnerving zeal of her late father’s supporters with a “wooden” countenance. Although initially guarded, it was important for Stephens and Hernandez to approach these characters with compassion.
Gradually, hopefulness begins to take root, and Carrie starts to understand why her father was a “true believer.” She moves beyond questioning whether the machine actually works. As the layers of the story peel away, the film shifts focus from the distractions we seek while grieving. ”Believing in something can be a way of organizing your hopelessness,” Stephens said, eloquently summing up a certain hopefulness as we witness the decay of the American Dream post-Covid.
Finding solace in the mundane
There is solace in the realization that, as Hernandez and Stephens put it, “Even the small interactions you have, which seem irrelevant in the grand, dramatic scope of grief, have their place—the banal, the magical, the dumb, the stupid, and the wonderful.”
For more insights and to watch the trailer, visit Invention.
This article aims to provide a comprehensive and personal perspective on the film “Invention,” blending narrative analysis with reflections on the themes of grief and belief. By exploring the film’s unique format and the collaborative effort behind its creation, readers are offered a deeper understanding of the emotional and thematic layers that make “Invention” a standout piece in contemporary cinema.
