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“Indivisible,” a film by Edoardo de Angelis, takes a decidedly serious approach to the story of conjoined twins, initially ruminating on the lack of freedom one might have if they spent their entire lives next to someone else. To the extent that “Indivisible” does not take the freak show approach taken by the Farrelly brothers’ comedy “Stuck on You,” which may be the most well-known name in conjoined twin cinema, it does consider what would happen to such siblings in a world that places an emphasis on celebrity, religion, and sex for their own selfish ends.
Angela Fontana and Marianna Fontana are twins who are conjoined at the hip in the film Viola and Daisy, respectively. Of course, they work as a team, with their distinct personalities merging into a single entity. They are around the age of 18 when the film begins, just on the cusp of becoming legal adults. Soon after the beginning of “Indivisible,” they are informed by a doctor that they could be separated and survive, and that this may have been the case from the beginning of their lives. In this case, there is conflict between the two because Daisy wants the surgery to be her own individual while Viola does not. However, they come to the decision to flee from the large number of people, particularly men, who have attempted to commercialize their phenomenon.
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For starters, their egotistical father Peppe (Massimiliano Rossi) and defeated mother Titti (Antonia Truppo) have turned them into traveling singers who perform in their working-class neighborhood. A bizarre sequence early on shows them working on a first communion while singing a song written by Peppe called “Indivisible,” which is both a bland ode to love and a testament to the type of sentencing their family business has placed on them. They never harmonize, instead flatly singing the same notes in unison, which is a nice touch that demonstrates how similar they are and how cheap of a songwriter he is.
There are other local men with more nefarious intentions: a local priest (Gianfranco Gallo) wishes to transform them into walking angels of some sort, and he is ready to build a church in their honor, with parishioners preparing to worship in their presence. Meanwhile, a wealthy businessman named Marco Ferrari (Gaetano Bruno) promises the twins that he can turn them into international stars, while simultaneously developing a fetish for their handicap, with a particular eye on Daisy. For the most part, these men are interesting because they demonstrate the various ways in which the twins are objectified by various institutions. Although they are more than just symbols of greed and inhumanity, the script fails to give them any depth or complexity, rendering them one-dimensional regardless of the complex worlds they can represent. The following encounters Daisy and Viola have with these forces have the same stage-by-stage villainy of different bosses in a video game, which makes them seem like they are playing a video game.
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However, while the script has difficulty explaining why it was so excited to put conjoined twins in such a predicament, the Fontana sisters have a unique emotional eloquence that stands out. This duo sells the intense love and anguish they must be experiencing as a couple, keeping many scenes afloat by acting off of each other in close proximity and with vivid, contrasted emotions. The film fails to give them enough personality as a group or as individual brains, and instead relies on the main conflict of who believes in the operation and who does not to make them human beings. The Fontana sisters, on the other hand, are able to generate conflict within their situation, despite the fact that they are two souls who have little experience with the ability to think for themselves. Their scenes alone, in which they each try desperately to persuade the other of what to do while looking directly at each other, are always fantastic to watch.
De Angelis’ filmmaking, with its numerous composed takes that run long and often around a crowded interior, leans into the straight-faced tone, suggesting a determination to show rather than to articulate. There are even images of giant Jesus statues and general excess, which reminds me of how Fellini addressed such indulgences in “La Dolce Vita,” contextualizing the light fantasy of a grounded situation in the same way that his films do so effortlessly. In the case of “Indivisible,” however, the use of some of those vibes comes across as more of a reference than anything else, rather than a blessing.
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However, this competent filmmaking and self-assured tone aren’t particularly distinctive ideas for a film that struggles to be as distinctive as its pitch. Whenever it is at its best, “Indivisible” provides viewers with unparalleled dramatic sensations, which is especially useful for anyone who believes that all storytelling is a revolving list of similar feelings. You’ve probably never experienced what it’s like to hope that conjoined twins can survive in the open sea, to name a few intense examples, but “Indivisible” provides that experience, bolstered especially by the performances of the film’s leads. As delivered by De Angelis with heavy hands, it is the followthrough that provides very little that is novel to consider.
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