Indivisibili

In this case, the Italians have taken on a strange drama that tries to squeeze the maximum of emotions out of two sisters whose bodies are connected in such a way that the first thing that comes to my mind is: why didn’t they divide them when they were children so they could have a normal life. The upside of this movie is the casting of the sisters – the actresses who have taken up the challenge of these complex characters. It was incredibly pleasant to watch and it was somewhat of a pure essence of Italian beauty. What was worse was the gloomy environment that radiates only sadness, a wasted life and zero hope. It’s hard to watch such a movie for 100 minutes. (07.12.2016)

Indivisible is a martyr’s story of conjoined twins who, on the threshold of adulthood, learn that they could be surgically separated and live more freely than before. To make the story more heartrending, the beautiful, likable girls of flawless character are surrounded exclusively by negative characters who abuse them in various ways and prevent them from being happy. Imbued with religious motifs (while being critical of religion in its extreme form) and lightened up a few times by “on the road” escape scenes, the tragedy is as predictable as the evil-hearted supporting characters, who behave from beginning to end exactly as you would expect based on their appearance and demeanour. Though only the central characters undergo some sort of development, we spend a long time with their parents, who are just as unlikable at the end as they are at the beginning and the film makes no effort to understand them. The stylistic enhancement in the form of long steadicam shots à la Sorrentino is a mere quirk without any rationalisation in the story (if we don't go into dubious interpretations in the sense that the sequences are uninterrupted, just as Daisy and Viola are inseparable). In most respects, Indivisible is a weak example of a would-be high-minded festival film that exploits the unfortunate situation of its characters only for the purpose of moving the audience. 45% (07.11.2016)