Into Invisible Light

Into Invisible Light is a 2018 Canadian romantic drama film directed and co-written by Shelagh Carter and starring co-writer Jennifer Dale as a recent widow re-examining her life and her identity in the wake of her husband's death.[1] Confronted by an odd directive from the estate, the widow is inspired to rekindle a long repressed desire to write after she unexpectedly crosses paths with an old flame from her youth (Peter Keleghan), inspiring her to explore her creative voice, and to put into words the feelings and desires that she has experienced and sometimes repressed in her life.[2] Carter's third feature is an independent film loosely based on characters from Chekhov's Uncle Vanya, Dale's character being based on Yelena,[1][7] and Keleghan's on Dr. Astrov.[8] The film features an original score by Shawn Pierce.

Into Invisible Light
Theatrical poster
Directed byShelagh Carter
Produced by
  • Jeff Peeler
  • David Soltesz
  • (executive producers:
  • Jamie Brown
  • Julian Van Mil
  • Shelagh Carter
  • Jennifer Dale)
Written by
  • Jennifer Dale
  • Shelagh Carter
Based onUncle Vanya
by Anton Chekov[1]
Starring
Music byShawn Pierce
CinematographyOusama Rawi
Edited byChad Tremblay
Production
companies
Distributed byA71 Entertainment[2][3]
Release date
  • 1 December 2018 (2018-12-01) (WFF)[4]
  • 1 February 2019 (2019-02-01) (Canada)[5]
Running time
102 minutes[2]
CountryCanada
LanguageEnglish
BudgetC$1,500,000 (estimated)[6]

Plot

In Winnipeg, Helena (Jennifer Dale) is a recent widow in her sixties. Her husband left behind a fortune in art grants, which she is now tasked with dispensing. Helping her is executor David (Stuart Hughes), who lost his own wife and child in an accident six years earlier, and who sometimes looks at Helena in a certain way. She feels unqualified to walk in her husband's footsteps. Taken to a gallery by David, she does not know what to make of a modern art piece. "It’s incomprehensible," she says with a sigh. "It's getting a lot of attention," David replies. "I have no idea what I'm looking at," she persists. Her enforced engagement with art, sculpture, dance, writing, picking and choosing the candidates for consideration, brings up old ambitions, and memories of her own writing, done long ago before marriage and its complications. She had thought she "put away childish things".

Helena runs into Michael (Peter Keleghan), an old boyfriend from her university days. Her aspiration to write was abandoned at the same time she broke up with Michael, who she says "squashed" her dream in an apparent fit of ivory tower arrogance. Michael is now a writer and a teacher with daughter Monica (Jaydee-Lynn McDougall) who wants to be a dancer, and a wife (Kari Matchett) from whom he has grown distant. Monica is a dance student hopeful for a scholarship handed out by Helena's foundation. Helena impulsively drops into the back row of Michael's creative writing class just in time to hear him give his students an assignment: "Write from a moment in your past where you made an irrevocable choice." She picks up a notebook and gradually becomes consumed with not just the choice, but how it might have turned out differently.

When Michael's wife takes an impulsive trip out of town, it gives him time to reconnect with Helena, rehashing old arguments but also trying to break through to something new. Black-and-white flashes of events from more than twenty-five years ago show Michael and Helena as young people bound together by their love of words and writing, and support of one anothers' young dreams. Michael and Helena quickly pick up a thrust-and-parry rapport. Helena had thoughts of being a writer herself. Michael was hard on her back then, and still is. He is "bored by mediocrity" and does not see writing as something that can be a hobby. "I'm turned on by people who can't not do it," he tells Helena. Helena and Michael re-enter their old relationship, awkward and fumbling, and yet passionate, the feelings still intense, as though no time has passed at all.

Meanwhile, Monica works out what has been going on between Helena and Michael, and now feeling neglected by both her parents, tries to enter the modelling world, but it goes terribly and frighteningly wrong. When her mother returns from her hiking trip, she confronts her.

Kari Matchett in 2011.

Cast

Themes, interpretations, and influences

Into Invislbe Light was described at its world premiere as a story of forgiveness, second chances and the revitalizing power of art. Through the events of the film, Helena is inspired to write many years after giving it up, to express her creative side, to put her feelings and desires into words;[2] a meditation on the creative process, self-confidence, and "life-altering decisions" (in this respect comparable to Carter's previous feature Before Anything You Say).[9] Richard Crouse quotes from self-help author John Tarnoff by way of summing up the theme of forgiveness: "In order to create your future, you have to reconcile your past."[10] As Jennifer Dale puts it:

The point of this story is that Michael coming back into her life affords Helen the chance to see how their youth botched it all up, and it's another chance to understand where he's coming from, to forgive each other and free themselves, especially Helena, to be able to find her own voice as a writer, even by the beginning act of trying to engage this gift of writing that she had abandoned.[11]

In an interview with Sheila O'Malley when the film was still in development, Carter suggested that it, and indeed, all her work to date, has in some way been about aspects of betrayal and abandonment: "It's something really deep in me from my own childhood, and it's coming up in different forms."[12] The story is "unapologetically a story about adults for adults", and deals with characters asking "if you had been given the chance to begin again, would you, could you, what would it take to rise to that?"[11] at least from the Baby Boomers' perspective, though the question is also reversed from the point of view of Monica, in that she is confronted with something which makes her ask "What if my life went that way?"[13] As Dale puts it more explicitly:

That is the flaw and dilemma and sadness of Helen, who is kind of drowned in this weight of remorse. She's only partially conscious of having abandoned something of herself for no good reason she can even defend or blame. There are many of us who come with a certain point in our lives in middle age and later middle age and it's true for me and for you, we can look back and examine moments and choices that we made and those that made us veer off into what she would have done. It's impossible not to have regrets of one kind or another.[11]

Or as Sheila O'Malley puts it: "It's not about the first flush of hope. It's a movie about flawed human people with some miles on them, miles where things have been dropped along the way, things they all thought were lost forever."[7] In this respect, the film is also a meditation on ageing and loneliness, and the "confusion that comes from being left behind after a partner's death."[14] Helena's writing is also about being "in mourning and grief, the act of writing about her grief."[11] For Dale, the film's title, a "poetic phrase that works as a metaphor on many levels", referring in part to the "invisible light" from the other world, where her deceased husband has now gone: "this very strange challenge and demand, in a way his hand reaching across time and space" sending her on the path that he knows she should be on.

It's also about invisible light that is always working on us. I don't think people's hopes ever die, they go on forever, no matter how we self-sabotage or deny or put things behind us, our grief and disappointments, if we're lucky enough to recognize it, we can see how life conspires to give us another chance.[11]

Detail of Osip Braz's 1898 portrait of Chekhov, on whose characters Helena and Michael are based. (Oil on canvas. From the collection of the Tretyakov Gallery)

In an interview with Debra Yeo, Jennifer Dale says she and Shelagh Carter were inspired partly by performances they loved in other movies, including Tilda Swinton in 2009 romantic drama I Am Love, Kristin Scott Thomas in 2008 French-Canadian drama I've Loved You So Long and Juliette Binoche in Abbas Kiarostami's 2010 film Certified Copy: "Films with central female characters who were going through big transformations and, particularly in the case of the Binoche film, talking through it." They also drew on their own lives and on the character of Yelena in Anton Chekhov's Uncle Vanya[1][13] (and in turn, basing Michael on Dr. Astrov).[8] "There's this idea in Chekhov that the greatest sin … is not to even have tried to fulfil your potential or your heart's desire. That resonates with me very, very deeply".[1] Sheila O'Malley remarks how the film's "poetic thematic choices" highlight the "Chekhovian elements of the script", melding past and present, when Helen's mother lies dying, when her family stands around a grave, or when her hand hovers over a pen on her desk: in plays like The Three Sisters, The Cherry Orchard, and Uncle Vanya, Chekov "wrote about people caught in the past, bubbles of life trapped in amber, with no way out except through their long-held dreams."[7]

Production

Background and development

Shelagh Carter and Jennifer Dale first developed the concept after meeting in 2009 in the Directors' Lab programme at the Canadian Film Centre in Toronto,[1][11] where Carter directed Dale in the short film, One Night.[15] After, they determined that they had a similar style of working,[16] and would enjoy working together again on something more substantive.[1] They began to create a character for Dale, "from the ground up":

We talked about films that inspired us, women's roles that inspired us, actresses and characters we loved. We wrote each other's stories, stories of our past, stories from other women we knew. Shelagh hit on this notion of adding Chekhovian elements to it.[11]

Carter thought of Dale as the character Yelena from Chekhov's Uncle Vanya, a character Dale had worked on in acting classes years before, though never actually played,[16] except in a parody.[note 1] After telling Dale what she was thinking, they discussed the character and her unresolved feelings and issues.[16]

We wanted to take that kind of character and transfer it into a modern setting, a woman who appears to have everything... well spoken, elegant social context but who feels estranged from her own life and inconsequential in her own life.[11]

The script evolved from there.[13][15] Carter and Dale started writing it about 2010, writing to each other, talking on the phone, "trying things on", seeing what worked.[16] However, the script sat on the shelf because Dale and Carter got busy with other things: a TV series and play for Dale, a feature film for Carter.[1] While Dale was working on another job — "coverage work", analyzing and evaluating screenplays for film companies and turning them into short synopses[16] — she was motivated to return to Into Invisible Light: "While I was doing that work I was really learning a lot more about script writing and what makes a script work," so she decided to get back to the "pretty damn good script" she and Carter had written,[1] called Carter and told her "we have to make this movie."[16]

Writing and characterization

Into Invisible Light was the first time Jennifer Dale's attempt to collaborate on a script actually succeeded, other than a short film based on her one-woman show, Duse.[16][note 2] She spent many years in collaborations with other writers and directors which were not produced.[17] "I had a lot of experience in failing before that... Whether or not this is a success or failure at least it was realized, which in and of itself is something to be proud of."[1] Dale makes no apologies for the script being "wordy", as she loves films where people talk things out.[16]

Helena, as developed by Carter and Dale (who has said there were autobiographical elements to the character),[17] feels like a secondary character in her own life, only semi-conscious of the remorse and disappointment in herself for never having given herself a chance to write, or, really, to love. When she meets Michael she gets the opportunity to examine the choices she made, to forgive, and through her writing to find her voice again.[16] In the interview with Yeo, Dale quoted from the American poet Mary Oliver: "the most regretful people on earth are those who felt their own creative power restive and uprising, and who gave to it neither power nor time", Dale adding: "That is very much what our Helena is in the beginning." Moreover, the point is not whether she is or ever will be a good writer: "it's just about the healing act of engaging that."[1] Elements of Helena's character being at a crossroads are reflected in the character of Monica, who is also faced with a very important choice which will affect her life.[16] Carter adds that both Helena and Michael are somewhat lonely characters and that for both there is a sense of reckoning that comes from writing, of remaking one's life through art, of art as a transformative force.[16]

With audiences accustomed to films about young lovers, it's a challenge to write about mature characters falling in love. Carter says she has been told her style of filmmaking is more akin to European cinema, in that she is willing to let the film take its time, and focus on older characters, and suggests that Europeans "value older people in their lives" more than North Americans, although she says "we are getting better at it", perhaps because the Baby Boomers are getting older. Although it is a "mature" film, she hopes it speaks to young people as well in the sense of highlighting the choices they make and how they have consequences, though, she hopes, not in a pedantic way.[16]

Financing

It took another couple of years to get the funding and pull together a production team and a cast.[1] Dale had been working with one of the producers on another project which did not go forward, and offered him the script, and he was on board because he was interested in continuing to work with her.[16] Meanwhile, Carter, who knew she would be welcomed in Winnipeg where she had ties to Manitoba Film and Music,[3][note 3] approached Jeff Peeler of Frantic Films, who is not known for producing feature films, but shows like The Baroness Von Sketch Show.[16]

The film was made as an "interprovincial coproduction",[16] produced by Manitoba-based company Frantic Films and the Toronto-based Studio Feather, with support from Manitoba Film and Music's Equity Production Fund,[19] the Harold Greenberg Fund (Bell Media),[20] Telefilm Canada,[3] and the CBC, among others.[1]

Peter Keleghan (pictured with Leah Pinsent) portrays Michael.

Casting and crew

The cast of Into Invisible Light is large compared to Carter's two previous films, Passionflower and Before Anything You Say (the latter film also shot by cinematographer Ousama Rawi, who first worked with Carter on One Night,[16] and edited by Chad Tremblay, who won Best Editing at the Madrid International Film Festival for his work on Before Anything You Say).[7] There were no auditions; Carter and Dale simply told the casting director to offer the parts to the actors they were considering. Dale says actors are "thrilled" when they offered a role "out of the blue like that; it's very empowering".[16]

Dale had known Peter Keleghan for twenty years, but only played opposite him once before as his character's ex-wife in an episode of the sitcom Made in Canada.[11] Dale said "he came late" as a consideration for the part of Michael, but once he did, "it made so much sense", and, "right from the time he came in to rehearse with us, we knew, this was the guy",[16] also remarking: "He's so handsome and charismatic but he doesn't very often have the opportunity to play these types of leading man roles."[11]

When Dale began her acting career on the stage at the Stratford Festival in Much Ado About Nothing, she played Hiero alongside Martha Henry who was playing Beatrice, and plays her mother-in-law in Into Invisible Light; they have worked together off and on again over the course of their careers, including Empire, Inc., where Henry played Dale's mother. "We really fought to get her ... she had some issues about coming out to Winnipeg"; Dale's sister Cynthia, who is "closer" to Henry than Dale is, and Henry's own daughter, were both instrumental in convincing her to take the part.[16]

Apart the cast and crew with whom Dale and Carter had already worked from elsewhere, Carter, who is a "proud Manitoban" and taught film studies at the University of Winnipeg, made a point of hiring people from Manitoba; Rawi brought a great team together in terms of the camera work, and Jeff Peeler was very supportive.[16]

Filming

On a low budget film, there is a limited time on set and actors may only get two or three takes to do a scene. As the script was demanding, Carter and Dale found it important for there to be a lot of rehearsal time leading up to the shoot.[16] Principal photography for Into Invisible Light took place entirely in Winnipeg in October 2017,[19] in about 18 days,[1] in anamorphic format 2x squeeze.[15] Carter and Rawi began their conversation about style starting with the film's title:

That "light" can be used in connection with the conscious side of the mise-en-scene; dark to reveal the unconscious, haunting dimensions that inhabit those fringes that subdue and complicate surfaces. For example, warm saturated colours that capture the spirit of the tango and its erotic energy move into desaturated images when specifically needed for the scenes of death, darkness and danger implied by the brothel that one of the characters enters in a mistaken attempt to secure funds to support her dance career. Mr. Rawi's visual agility in painting with the light comes from so many years of experience and this is our third film together and we have developed a way of collaborating that I so value.[15]

Of the many challenges in making a low-budget film, finding a particular location, the estate, seemed to be the most elusive.[16][15] Dale remarked: "We lost our most important location, the home of my character, three days before we were supposed to start shooting in it for a week", forcing Carter to entirely reconceive an entire block of scenes throughout the film; the finished product "wasn't anything like what we'd written on the page. It became something entirely other."[1]

Release and reception

Into Invisible Light premiered at the Whistler Film Festival on 1 and 2 December 2018,[4][21] and the rest of Canada on 1 February 2019 at Scotiabank theatres in Winnipeg and Toronto.[5]

Critical response

Into Invisible Light has a rating of 60% on review aggregator Rotten Tomatoes based on five reviews.[22] Most critics, even those who disliked the film, praised Jennifer Dale's performance[7][9][14][23][24] and some complimented the "grownup" script and dialogue.[7][9][23]

Sheila O'Malley calls the script "intricate and thoughtful", the characters "intense", their past and present explored by Shelagh Carter "using a variety of arresting stylistic choices"; Ousama Rawi has "an intuitive sense of space and light, showing Helena strolling through ornate offices and gigantic museums, the surrounding space and high ceilings making this prickly powerhouse look lost and defenseless, in stark contrast to her competent and verbally intimidating persona." Monica's sequences in the rehearsal studio are "visual sequences of depth and power" as she is shown "launching her body in dramatic slo-mo across the space, arms flung out, head thrown back". She calls the dialogue "spiky" and "fun":

It's a relief to sink into a script confident in its different voices, feeling no obligations towards kitchen-sink realism. These are articulate people, devoted to language. They use language to deflect, to camouflage. There's a real script here, and each scene creates its own intense little microcosm. There's momentum in the plot, to be sure, but the plot is not really "the thing." What is "the thing" here is a mood, a vibe, an overall style meant to call up emotions and thoughts and memories. This is difficult to pull off, without seeming precious or like the film is tiptoeing around committing, to nailing things down.[7]

O'Malley also praises the score by Shawn Pierce as beautiful and "a haunting piano which infuses the film with an elegiac yearning", the music "ties the whole thing together, grounding it and yet also setting it free." and reserves special praise for Dale's performance: "The intense – even fraught – flashbacks emanate from Helena's unconscious, from her memory, interrupting her present, filling her mind's eye and heart", comparing the film to Arthur Miller's Death of a Salesman: "Things Helena had assumed were dead in her, things she had buried long ago, arise. Some of the things are terrible, and some tremble with beauty and fragile hope. Dale navigates this with assurance, Helena's glamorous competent exterior, but also what the exterior is designed to cover up."[7]

Richard Crouse calls Into Invisible Light a "finely tuned story" that "eloquently essays a reawakening"; it is a densely written, thoughtful examination of Helena's new phase of life, "supported by elegant cinematography" and a "moody, stark score", occasionally taking itself a bit too seriously, "leaning on minor chord drama for effect, but the lingering effect is one of hopeful rebirth."[10] Writing for The Globe and Mail, Brad Wheeler finds Into Invisible Light "thoughtful, a touch pretentious and extremely well-acted". The film "moves like a dance, both in flow and in the way characters feel each other out", while the "biting" dialogue between mature characters is "clever, probably overly so." The "impressionistic black-and-white moments" contribute to a sense that everything is "all a bit elevated". But ultimately, Into Invisible Light "overcomes its flaws with an artful, classy flair and a finely written character handled gracefully by Dale."[9] Writing for The National Post, Chris Knight calls the film "the kind of adult drama people are thinking of when they say, 'They don’t make movies like that any more.' He chides the film's inclusion of coincidence "just shy of being too clever to believe" and does not care much for its "lugubrious piano score": "But these are minor issues in a solid piece of CanCon filmmaking, anchored by a powerful and nuanced performance from Dale."[23]

Norman Wilner thinks the film's theme is not very well executed, but gives plenty of praise to Dale, who gives a "really great performance":

Dale makes the most of this all-too-rare leading role, finding ways to show Helena's grief surging and receding as she drifts through her days. Indeed, the subtlety of her performance stands in contrast to some of the less modulated cast members – there's a subplot about Keleghan's daughter that does not work at all – and to the general sense that Carter ... doesn't trust the audience to follow along. Into Invisible Light deploys every shortcut in the book, from a near-constant "thoughtful piano music" score to multiple black-and-white interstitials of Helena staring into the middle distance while struggling at her writing desk – to ensure the easiest ride possible. I found myself hoping for something a little harsher, a little less impressionistic, something that cut through the film's comforting veneer and let us worry, even for a moment, that things might not be all right for Helena. Dale suggests that in every scene. I wish the movie around her had been as daring.[14]

Randall King of The Winnipeg Free Press calls the film an "unapologetic melodrama" which "tends to err on the side of sombre seriousness." [25] Jim Slotek agreed, calling the film "dour" and "slow-moving", declaring: "It's great seeing terrific, veteran Canadian actors like Dale, Henry and Kelleghan onscreen, in a story dedicated to characters of a certain age. But it's disappointing to see them in a movie that seems undercooked in every way except its look", citing underwhelming performances by actors portraying unsympathetic characters in unrealistic settings.[26] Victor Stiff also disliked the film's dialogue: "it comes off like people acting out a philosophical debate. Much of the film feels like conversations grafted onto a scene rather than characters with interior lives revealing what makes them tick. ... These characters don't speak or act like human beings. They're exposition machines." He feels Carter "batters the audience over the head with the script's blunt themes", while the "presentation" is also lacking and the score grating. Dale's "strong performance", the one good thing going for the film, "is not enough to carry this flawed picture.[24]

Accolades
Awards
Nominations
  • Whistler Film Festival, 2018: official selection for the Borsos Competition for Best Canadian Feature[29]
  • Madrid International Film Festival, 2019 • Best Film • Best Director • Best Lead Actress (Jennifer Dale) • Best Supporting Actress (Kari Matchett)[29]
  • West Europe International Film Festival 2019 • Fusion Award, Best Cinematography (Ousama Rawi) • 5 other Jury Award nominations

Notes
  1. Christopher Durang's Vanya and Sonya and Masha and Spike, a 2015 production of the Manitoba Theatre Centre.[17]
  2. An English adaptation of Ghigo de Chiara's Italian piece, Eleonora's Last Night in Pittsburgh (Eleonora, ultima notte a Pittsburgh).[18] Dale was "obsessed" with Eleonora Duse, Sarah Bernhardt's acting rival, for some time.[16]
  3. "Provincial support through MFM has been crucial to my development as a filmmaker ... And with that support comes a tremendous belief in me as an artist. They create the possibility, the place where I can dwell and dream and then actually transform a piece of writing into cinema."[19]
gollark: I think there are things for that sort of thing in cluster software.
gollark: * mesh networking
gollark: It turns out that good, robust, autoconfiguring networking is actually very hard.
gollark: The idea is probably wirelessly doing super high bandwidth stuff like sending video to displays.
gollark: It is called 802.11ad.

References
  1. Yeo, Debra (30 January 2019). "For Jennifer Dale, Into Invisible Light was a decade-long odyssey". Toronto Star. Retrieved 17 February 2019.
  2. "INTO INVISIBLE LIGHT". Whistler Film Festival. Retrieved 18 February 2019.
  3. "Corporate Timeline". Frantic Films. Retrieved 11 October 2019.
  4. "Into Invisible Light Premieres at Whistler Film Festival". Frantic Films. Retrieved 17 February 2019.
  5. "Into Invisible Light Theatrical Release". Frantic Films. Retrieved 17 February 2019.
  6. "Into Invisible Light (2018)". IMDb. Retrieved 29 December 2019.
  7. O'Malley, Sheila. "Review: Into Invisible Light (2019; directed by Shelagh Carter)". The Sheila Variations. Retrieved 17 February 2019.
  8. Beaudette, Teghan (27 October 2017). "Homegrown directors rack up 7 projects amid film boom in Manitoba". CBC. Retrieved 19 February 2019.
  9. Wheeler, Brad (31 January 2019). "Jennifer Dale plays Helena, a well-off widow reconsidering past decisions and struggling to move forward". The Globe and Mail. Retrieved 17 February 2019.
  10. Crouse, Richard. "INTO INVISIBLE LIGHT: 3 STARS. "the lingering effect is one of hopeful rebirth."". www.richardcrouse.ca. Retrieved 23 February 2019.
  11. Brodie, Anne (interviewer) (28 January 2019). "Jennifer Dale Moves 'Into Invisible Light'" (podcast transcript). What She Said. Retrieved 26 February 2019.
  12. O'Malley, Sheila (interviewer). ""This isn't Paris." "I know." Interview with Shelagh Carter, director of Before Anything You Say (2017)". The Sheila Variations. Retrieved 22 February 2019.
  13. Cuciz, Shannon (interviewer) (28 January 2019). "Into Invisible Light preview with director Shelagh Carter" (television broadcast). Global News Morning Winnipeg. Global News. Retrieved 19 February 2019.
  14. Wilner, Norman (29 January 2019). "Review: Canadian film Into Invisible Light is flawed but contains a great performance". Now Toronto. Retrieved 17 February 2019.
  15. Whyte, Jason (interviewer). "Whistler Film Festival 2018 Interview: INTO INVISIBLE LIGHT director Shelagh Carter". getreelmovies.com. Retrieved 19 February 2019.
  16. Shrimpton, Becky (interviewer) (January 2019). "Into Invisible Light (2018) an interview with Jennifer Dale and Shelagh Carter" (podcast). Royal Canadian Movie Podcast. Retrieved 20 February 2019.
  17. King, Randall (29 January 2019). "Beyond Beauty: Actress Jennifer Dale adds writing to her resumé to film shot in Winnipeg". The Winnipeg Free Press. Retrieved 23 February 2019.
  18. "Jennifer Dale". The Canadian Encyclopedia. Retrieved 20 February 2019.
  19. "Manitoba Directors Take the Lead". Manitoba Film and Music. Retrieved 18 February 2019.
  20. "Bell Media's Harold Greenberg Fund Announces Script Development Support for 33 Canadian Film Projects". Bell Media. Retrieved 18 February 2019.
  21. "'Into Invisible Light' Premiere". On Screen Manitoba. Retrieved 17 February 2019.
  22. "Into Invisible Light". Rotten Tomatoes. Retrieved 27 July 2019.
  23. Knight, Chris (1 February 2019). "Into Invisible Light is a solid piece of CanCon filmmaking". The National Post. Retrieved 19 February 2019.
  24. Stiff, Victor. "Heavy-Handed Drama: Our Review Of 'Into Invisible Light'". In the Seats. Retrieved 19 February 2019.
  25. King, Randall (1 February 2019). "Drama overflowing with romance Amid its unapologetic melodrama, film brings out beauty of Winnipeg". The Winnipeg Free Press. Retrieved 19 February 2019.
  26. Slotek, Jim. "Into Invisible Light: The unbearable lack-of-lightness of being a rich widow". Original Cin. Retrieved 23 February 2019.
  27. "2019 Remi Winners". worldfest.org. Retrieved 3 July 2019.
  28. James, Lorraine. "Into Invisible Light at Gimli Film Festival". Lorraine James Acting Career Updates. Retrieved 8 September 2019.
  29. "Into Invisible Light". Darkling Pictures. Retrieved 8 September 2019.
  30. "Winners in Brussels!". fusionfilmfestivals.com. West Europe International Film Festival. Retrieved 8 September 2019.
  31. Friesen, Laura. "Into Invisible Light from director Shelagh Carter wins best film at Belgium's Fusion Film Festival". nsi-canada.ca. National Screen Institute. Retrieved 8 September 2019.
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