Dylan O’Brien’s Hilarious and Heartbreaking Journey in ‘Twinless’

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James Sweeney’s film, titled “Twinless“, explores the concept of perception, not just our own but also that of its characters. It transforms grief into something slippery, sometimes humorous, and often distressing. The movie encourages us to confront grief in all its manifestations, whether it’s mourning a deceased loved one or grieving for the life that never was. This film delves into the complexities of twinhood, focusing on the unique, unreplaceable bond it creates, but also on what occurs when this bond is broken, leaving only recollections behind. With a crisp screenplay and an entrancing dual performance by Dylan O’Brien, who flawlessly portrays the contrasting personalities of Roman and Rocky, Twinless succeeds in being both compassionate and biting. It serves as a contemplation on loss, set in an age where identity is more fluid — or more easily altered — than ever.

Sweeney, the writer, director, producer, and actor, constructs a storyline that is as much about deceit as it is about mourning. The movie focuses on Roman (O’Brien), whose twin brother, Rocky, has just met a tragic end in a car accident. At the funeral, a violinist finds it challenging to maintain pitch, creating a brief, witty, and somber scene that sets the film’s peculiar mood. Remarks about how much Roman resembles his deceased brother range from mundane to existentially unsettling. Disoriented and emotionally lost, he attends a support group for twins, where he encounters Denis (Sweeney), another lonely individual who declares having lost his own twin. They quickly develop a strong and intense connection, circling each other in a manner that seems soothing but grows increasingly disquieting.

Twinless doesn’t tell its story in a straightforward manner. There’s something peculiar about Denis that stands out – an eerie sense of familiarity, a hidden secret lurking beneath his surface. To avoid giving away too much, let me put it this way: his intentions aren’t as clear-cut as they appear, and his bond with Rocky is more intricate than Roman understands. The manner in which Sweeney unfolds this mystery is skillful, enabling the audience to gradually uncover the truth while Roman remains clueless. It’s a film that assumes its viewers are intelligent, offering subtle visual and narrative hints that become more profound with careful consideration.

Comedy as a Survival Mechanism

One of Twinless’ standout qualities lies in its knack for blending wit with poignancy. Its script is remarkably sharp, teeming with subtle, insightful humor that never diminishes the emotional intensity. In a twin loss support group, a participant breaks the silence with an off-the-mark joke, underscoring the incongruity and absurdity of collective sorrow. An unexpected Olson twins reference in a crucial scene leaves a lasting impression long after the movie ends. The humor isn’t intended to soften grief; instead, it underscores the surreal and indomitable nature of grief.

Later on, there’s the scene where Roman eats a pop-tart. At first glance, it might seem insignificant – after all, we later discover that this was an unusual event for him in his twin-filled background. However, this simple act of eating becomes a subtle yet powerful narrative tool in the visual storytelling. Sweeney has a knack for highlighting such small cinematic details that effectively convey profound insights about his characters without resorting to excessive exposition.

A Contemporary Approach to Cinematography and Sound

The movie, titled “Twinless“, stands out significantly due to its meticulously crafted visuals. The camera work frequently encloses Denis in layers of frames, underscoring his feelings of isolation. At the precise midpoint of the film, a unique visual sequence occurs, manipulating time and memory in a manner that is both disconcerting yet purposeful, serving as a reflection of the fractured emotional state shared by Denis and Roman. In essence, this film isn’t merely narrating a tale — it’s visually portraying the fragmented emotional condition of Denis and Roman.

Sound design significantly contributes by subtly leading us through the evolving mental terrain of the character, Roman. The dialogue ebbs and flows based on his involvement, while periods of silence carry more impact than any music could. At times, we, as viewers, are immersed in a conversation with Roman, and at others, we’re kept at arm’s length, feeling the solitude he endures.

Moreover, after that, you’ll find the closing credits arriving late – an uncommon yet potent technique which offers viewers a chance to acclimate to the story’s environment prior to being formally briefed about the plot details. Just like in the movie Twinless, this decision seems deliberate, well-deserved, and invigorating in a film industry that frequently leans excessively on expository elements.

Grief, Identity, and the Uncanny Valley of the Self

Being a twin is an extraordinary event, something most people won’t ever truly grasp. It’s like having a twin reflection – someone who knows you inside and out, who echoes your thoughts, who shares your life in a unique way that no one else can replicate. Losing this mirror can feel like a profound disruption to one’s existence. Roman grieves deeply, even if he tries to hide it. He evades dealing with his feelings, maintaining an illusion of Rocky’s presence in his life, much like the strategy used in video games – if he doesn’t acknowledge the loss, perhaps it wasn’t real.

In Sweeney’s movie, I find myself caught in recurring patterns, both literally and symbolically, as the director skillfully uses visual and storytemporal repetition to echo the cyclical aspects of grief. Framed scenes encapsulate Roman in moments of introspection, while nuanced changes in cinematography highlight when he’s fully engaged and when he’s detaching from reality. The film also explores the concept of a world without twins on a broader level—through digital alterations. Photoshop here serves as a metaphor for solitude, for how effortlessly one can construct an alternate universe when the actual one is unbearably painful.

Additionally, there’s Denis. His influence on Roman is both comforting and disquieting, serving as a substitute for something missed, but certainly not the same thing. Denis’ determination to preserve their connection, to keep Roman nearby, touches upon a deeper issue: the pervasive sense of loneliness among men, often referred to as the male loneliness crisis. Books like “Twinless” capture the subtle, painful void that persists in modern friendships, especially among males, and how quickly it can escalate into co-dependency or something more ominous.

Male Loneliness and the Emotional Repression Epidemic

Essentially, “Twinless” delves into the modern predicament of male camaraderie, a topic frequently addressed in American independent films such as “First Reformed” and “Manchester by the Sea“. However, Sweeney offers a fresh, contemporary take, exploring the distinct sense of isolation prevalent in our digitally-driven era where identities are fluid, and loneliness is increasingly pervasive. The bond between Roman and Denis is an intensified yet relatable portrayal of male friendship, marked by unspoken feelings and based on shared activities rather than spoken words. “Twinless” implies that the loneliness among men isn’t merely about a lack of bonds, but it stems from the fear of being truly understood.

Sweeney’s portrayal of Denis is astonishing, with his knack for comedy perfectly accentuating the character’s disquieting instances, creating an unsettling allure. On the other hand, Dylan O’Brien offers a deeply textured performance as Roman. He exhibits remarkable restraint in his acting, making the film’s most poignant moments resonate without resorting to excessive exposition. His performance underscores the strength of understatement; it invites the audience to experience Roman’s feelings rather than dictating them.

Aisling Franciosi, who made a powerful impression in “The Nightingale,” brings a unique and refreshing vibe to “Twinless” as Marcie, Denis’ emotionally astute and empathetic coworker who eventually becomes Roman’s love interest. In a movie predominantly focusing on male sorrow and duplicity, Marcie serves as a beacon of lucidity and warmth. Unlike many female love interests in male-centric narratives, Marcie is a fully fleshed-out character who challenges Roman over his anger and perceives Denis’ machinations. Franciosi’s performance in “Twinless” is subtle yet crucial, providing the film with a calming wisdom that makes her one of its most captivating characters.

A Reflection on Loss and the Search for Meaning

In my humble opinion as a film critic, the closing scenes of “Twinless” offer no straightforward resolutions. Instead, it posits that grief is an intricate emotion that cannot be cured or substituted by a fresh bond. The fundamental human desire to be recognized, to be observed, is undeniably essential, but this thought-provoking movie invites us to ponder what occurs when this yearning obstructs our capacity to genuinely perceive others.

In a manner that is both modernly relevant yet ageless in its subject matter, Sweeney has skillfully created a film titled Twinless. This production resonates with individuals nurtured amidst the digital world, where altering truths is simple and forging genuine connections proves challenging. The narrative revolves around how personal identity undergoes transformation as a result of loss, how sorrow does not follow a straightforward course, and how the lingering remnants of those we cherish persist even after they’ve departed from our physical presence.

As the end credits unfold – a deliberate and scarce cinematic move – it’s evident that Twinless isn’t merely a film chronicling the loss of a twin. Instead, it portrays the agonizing solitude of being the sole survivor. Twinless had its premiere at the Sundance Film Festival and will be screened again on Feb 1, 2025. You can also watch it online until Feb 2. For more details, click here.

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2025-01-31 04:05