BOURGOIS NIGHTMARES, Invisible

INVISIBLE-THE BOURGOISIE SLEEPS (and sees nightmares ...) -

(The first and the last shot in "Invisible" by Dimitris Athanitis / 2 interpretative comments on the extraordinary film) 

First shot: The movie by D. Athanitis, (strangely) begins with the bedroom's plan in a bourgeois house: a woman with her eyes covered with a blackout mask to sleep - and a man next to her. We do not know who they are ...
(see photo ...)

Much later - and after the middle of the movie - we perceive from the same set that they are the owner / M. Hazarakis (and his wife / Eva Stylander) of the factory where the hero works / Yannis Stankoğlu.

After the end of the movie, you think that the story you watched - a dismissed worker decides to kill his boss - with the ambiguous end playing with the real and the imaginary, probably is the nightmare of the guilty bourgeoisie.

Or - a symbolic depiction - a "transfer" - of the concept of "invisible" in social classes, that the film deals with:
the "invisible" is invisible because of those who close their eyes in it's presence, or "sleep their justified sleep" - to avoid making it "visible". That is, real.

Last shot: The main hero plays with his little son in a paradoxical lighted dreamlike / imaginary shot, lying on the soil, lifting the kid up. There is no other scene like that in the movie or in the man's relationship with his child. Even if we have seen them a little bit before (b) playing soccer in a mechanical, almost cold, way.

This finale - consciously or unconsciously - refers to Irreversible by Gaspar Noe, revealing the structural affinity of the films. despite their thematic difference. (not accidentally, perhaps, the "affinity" of the titles of the two films "Invisible" - "Irreversible").

The time-reversed narration of the "unbearable" trauma that each of the films ends up in redemption and in what is lost for ever. Or that never existed.

Because it was never allowed to exist.