We all grieve in our own way – there isn’t any predetermined guidebook on how to navigate the loss of a loved one, which can make the mourning process excruciatingly difficult for many people. It is easy to feel lost, adrift in a sea of emotion in which all the rudder cables have been cut. However, it is in this period that some of the most important steps towards recovery take place, and it often tends to come in the form of people we meet unexpectedly who help us through such situations, even without being entirely aware. This is something that James Sweeney focuses on throughout Twinless, his extraordinary sophomore effort, which comes over half a decade since his astonishing debut Straight Up, one of the best films of the 2010s and a work of absolute ingenuity that immediately positioned him as one of our most exciting young voices in contemporary cinema. Twinless follows Roman, a sensitive young man who has been dealt a devastating blow after his twin brother is killed in a tragic accident. He attempts to heal through attending group therapy for people who have lost their twins, which is where he meets Dennis, who is equally reserved and has also lost his twin in similar circumstances. The connection is immediate, and they quickly become friends, helping each other through the grieving process and reminding themselves that a strong support system is vital to navigating these seemingly insurmountable emotions. However, Dennis has a few secrets that he realises could derail what he considers to be quite a meaningful friendship, leading him to hide the truth at all costs. A brilliant, evocative work that showcases the incredible skills of both Sweeney (who takes on roles on both sides of the camera) and the cast he enlists to bring this story to life, Twinless easily establishes itself as one of the year’s best films, a disquieting dark comedy that is as compassionate as it is biting, toggling the lines between tones and emotions in a way that is nothing if not truly impressive, taking us on an unforgettable journey into a story that is surprisingly daring and effortlessly charming, despite tackling a subject no one would ever consider to be fertile ground for such a vibrant, moving comedy.

How do we talk about death? Artistically, it’s both a topic that has been embraced (since it’s the one universal subject that everyone understands, at least to a certain extent), yet we’ve found it can be extremely difficult to communicate certain ideas, especially when it comes to particular discussions around death and how it is handled. Twinless starts with a funeral, so it becomes very clear that it isn’t death itself that is the focus, but rather the aftermath, which many consider to be far more difficult to understand than the actual act of dying, and certainly more painful, considering the attention is put on the people who have been left behind. It is in this space that Sweeney builds the core of the film, which is surprisingly deep considering how it is seemingly structured as a relatively straightforward comedy on the surface. The reason it becomes so unexpectedly layered is because Sweeney doesn’t fixate exclusively on looking at how these characters grieve a monumental loss, but also how they use this trauma and process their emotions as a path towards healing, which is one of the only truly positive aspects that can come from losing a loved one, since it teaches us how to be resilient, existing in a world without our closest companions by our side. It sounds overly sentimental and frankly quite passé, which is why the film is so incredibly effective – it doesn’t waste any time in establishing its core themes, but avoids being too heavy-handed by choosing to expand on the subject rather than restricting it to the same discussions we usually find in these stories. Sweeney explores queerness through an unconventional lens (as he did with Straight Up, one of the greatest examinations of sexual identity of the 21st century), as well as themes relating to friendship and the sometimes ambiguous boundaries that exist when forming a connection with someone who may not view the relationship in quite the same way. It’s a tricky subject to navigate, and in the hands of someone who didn’t have both the sense of self-awareness and the intelligence to elevate a complicated idea rather than settling for the obvious approach. There are many surprises to be found in Twinless, a film that seems to wear its heart on its sleeve, but quietly relishes in its ability to confound and unsettle the audience without crossing that moral threshold on which it is very much dependent in order to earn our affection and maintain our attention.

The aspects that anchor Twinless and make it so incredibly effective are undoubtedly the actors, and while Sweeney takes on one half of the central duo, it was important to find the right partner. It came in the form of Dylan O’Brien, who has been actively working to redefine himself as more than just a teen idol, embracing the challenges that come with more artistic projects that highlight his immense skills. This film is a perfect showcase for him, since it not only allows him to play two roles (both are different enough to demonstrate his versatility, but also the quiet connections he makes between the twins are fascinating and clearly a product of certain decisions he makes when bringing them to life), but also allows him to run the gamut of emotions. At a glance, the character of Roman seems quite simple – he’s an ordinary young man grieving the loss of his brother (who he considered his best friend and the only person who truly understood him), and while most actors would use this as an excuse to be more sullen and brooding, O’Brien seeks out the inherent optimism that defines the role, which is one of the many reasons the film is such a joyful celebration of life, rather than a meandering and overly miserable exploration of death and its aftermath. It’s incredibly impressive work from O’Brien, who continues to make brilliant decisions, proving that he should be taken seriously as an actor, both his dramatic skills and comedic abilities being entirely defined throughout this film. Sweeney has a similar task, but rather than playing Dennis as an eternal optimist processing a loss, he’s portraying a bitter, cynical outsider who yearns to find companionship and who is dealing with the aftermath of witnessing a horrifying event that he inadvertently caused. In the hands of another actor, the character would be beyond unlikable and frankly quite despicable, but Sweeney knows better than to just aim for the most obvious, surface-level tactics, which shows in every decision he makes, proving that he is as gifted an actor as he is a writer. He uses his own inherent quirks as the starting point for the role (which is smart, as it prevents him from over-exerting himself and delivering an unnatural performance, as well as stripping away any potential vanity), and allows it to flourish alongside the film, which is a far more nuanced affair as a result of the actors’ stellar work.

Despite its heavy subject matter, Twinless proves to be a very funny film – and a large part of the impact is found through Sweeney’s approach to the topic, and his refusal to follow the same path that others have chosen as their structure when it comes to examining the subject of death and grieving. The brilliance here is not solely found in the incredible writing and strong performances, but also how the various components are put together, the film becoming a deft highwire act in terms of tone and emotions, each one being carefully selected by the director as he assembled what was always going to be a challenging film. The key here is to not abandon earnestness – Sweeney is someone who clearly puts a lot of thought into his work, and would probably be the first to acknowledge that the stories he is drawn to do verge on the awkward and uncomfortable, which is all part of his fascination with the human condition. He leans into the inherent discomfort rather than avoiding it, which is why Twinless has such a distinct tone – its frequently very funny, with a lot of humour emerging from what is essentially a comedy of errors, but it also isn’t afraid to skirt around the edges of decency by rapidly approaching some very dark places – there are scenes in this film that are extraordinarily shocking, particularly in how Sweeney does not even vaguely attempt to either conceal the true meaning or justify certain decisions. Instead, he approaches the subject with a kind of candour that truly only exists in independent film, not being afraid to take a few risks based on the knowledge that the results will be far more interesting than they would be had he settled for the more obvious approach. There is a cynicism and lingering melancholy that hangs over this film, but with purpose – it’s through embracing the inherent sadness and misery that comes with a loss that we can find a path forward, and Sweeney recognises that the only way to evoke these feelings is through shrouding the film in a very particular kind of tone. Mercifully, he is smart enough not to resort to the same hackneyed, overwrought techniques we’d expect – the emotions are kept sharp and precise, and everything has a purpose. The result is a quiet, brooding dark comedy about enormously intimidating subjects, handcrafted by a director whose attention to detail is truly staggering.

Twinless feels like it is going to be a film that will define the current era. It is quite small and not something that immediately demands widespread attention, but rather will quietly be discovered by those who find its promise of a simple, effective comedy that does not rely on high-concept storytelling or gimmicks to leave an impression to be quite appealing, which is always the benefit of these intimate independent films, which can take more challenging ideas and condense them into a manageable form. Yet, beneath the surface, there are many layers, most of which tend to be quite disarming in terms of their volume of emotions – this is not an easy film in terms of the ideas that it explores, and Sweeney is certainly not willing to sacrifice the emotional impact for the sake of comfort. It’s this willingness to push boundaries and actually say something unique that makes Twinless such an extraordinary work – it is unwavering in its desire to examine a topic that is usually reserved for more dramatic works, proving that it is possible to find humour in even the most harrowing of situations if they’re approached correctly and with a purpose. The performances anchor the film and make it such a moving exploration of the human condition, handcrafted by someone whose attention to detail bolsters this film and makes it a genuinely impressive, daring achievement that is not afraid to take a few risks while also not taking anything for granted, knowing that the only way to connect with the audience is to speak to them in a language that they understand, which in this case means communicating heartfelt, meaningful ideas relating to grief, friendship and human connections with both respect and irreverence, the combination being slightly unorthodox but ultimately being quite effective. Twinless is an extraordinary film, a simple premise hiding a deeper, more evocative depiction of the road towards healing and the many unexpected obstacles that one encounters along the way. It’s an exceptional film, and one that earns every bit of our admiration, especially as Sweeney continues to establish himself as an essential voice in modern cinema, and someone whose career we will continue to observe with immense enthusiasm.