‘The Invitation,’ An Allegory For Society?

 

Tokenism is never an enjoyable sight. 

In a horror/thriller film like The Invitation, incumbent fear heightens for Kira. She is surrounded in a modest grouping, the sole Black woman— dark skinned too. The tender vulnerability of such tremulous situations mirrors fragile workplace environments, walking along eggshells, playing an almost superficial kind of nice. Kira must have been deeply embedded within herself, forcing any residual doubt to surpass just to undergo an awkward evening. All she wanted was to have a nice, normal dinner at her boyfriend’s ex-wife’s house. She kindly greeted everyone, let in no airs or grievances of discomfort. And yet the hosts could not revise their murderous plans. 

Poor Kira. 

Before Kira and Will even arrive to the candlelit party, Will accidentally hits a deer and kills it out of misery. Once they reach Eden’s grand house, where windows are prevalent and doors are mysteriously locked, all seems well— scarily well. Will was once married to Eden and they lost their young son, grieving the loss in different ways. Tragedy drove their relationship apart with Will coping through psychology and Eden finding a new husband in weird behaving David. 

Moreover, Eden and David’s extra notch politeness carries a sinister vibe, but only Will notices the facade. Kira, however, is trying to be everyone’s friend, much like any Black woman wanting to break the ice. By dismantling conditioned stereotypes that requires Black characters to provide cheap laughs, act sassy, or speak Ebonics, Kira is instead a caring, considerate listener, attentive to Will’s outbursts. After all, this quiet, calm house and the company of strangers is Will’s world. Kira is the willing participant, entering into another dimension of her boyfriend’s past and uncertain future. 

The illustrious Emayatzy Corinealdi is the poised Black woman survivor in a film directed by Karen Kusama, written by two men— Phil Hay (Kusama’s husband) and Matt Manfredi. Corinealdi has appeared in a limited horror/supernatural features such as the direct-to-video Vampz and a TV movie called Demons. The fact remains that this solid, multifaceted, utterly gorgeous actress deserves to have more starring roles. She is definitely an admired presence to look up to, considering that Middle of Nowhere (her first starring vehicle) remains a favorite romance. 

Once Kira and Will realize that murder is indeed on the menu, it is high time to flee. For Kira, the getting to know an ex phase has hit an unsuspected curveball. As the guests die one by one, Eden remains beholden to that scary layer beneath the niceness, reminiscent of the squeaky clean white people in Get Out. She is evil without truly comprehending it. With the morbid intensity like that of a religious cult leader, she believes her intentions are genuine, that murdering these innocents provides a service.

Hopefully, after witnessing and surviving that terribly violent ordeal, Kira decided to break up with David and chill out with her normal Black friends offscreen.