Writer-director James Sweeney’s “Twinless” opens with a stationary shot of storefronts, while a car crash is heard out of the frame. The commotion heard, but not seen, indicates something tragic has happened, confirmed by Roman (Dylan O’Brien) standing next to his mother (Lauren Graham) at the funeral for Roman’s twin brother Rocky (also played in flashbacks by O’Brien), who was killed in the accident.
During the funeral, people keep coming up to Roman and telling him the exact things he doesn’t want to hear while he is mourning his late twin brother: “It’s like looking at a ghost,” one funeral attendee says. Another, through tears, looks at him and is only able to say “Your face…” It’s those who simply embrace Roman and say nothing that he feels any semblance of comfort.
“Twinless” debuted at this year’s Sundance Film Festival, where it won the U.S. Dramatic Audience Award and the U.S. Dramatic Special Jury Award for Acting for O’Brien. It’s presented with a quirky Sundance sheen, but is a deeper film than one may expect. As Sweeney’s second feature (after the highly caffeinated and downright irritating “Straight Up”), he has shown a maturation as a filmmaker with “Twinless.”
As might be expected, Roman isn’t handling the loss of his brother well. He’s volatile, impatient and set off with the simplest question or request from his mother. He begins attending a support group for those who have lost their twin, which Roman doesn’t feel entirely comfortable about. He’s put at ease when he meets Dennis (Sweeney) and the two strike a bond over the gross cookies served as “refreshments” at the meeting.
In the first few minutes of Roman and Dennis meeting, Dennis makes a comment that indicates he’s gay. A sense of ease, of sorts, comes over Roman because his brother was gay. No one knows what Roman is thinking at that very moment, but maybe this new friendship will help him feel closer to his brother and hopefully, for Roman’s sake, alleviate some guilt from words said or unsaid while Rocky was alive.
“Twinless” is at its best when Roman and Dennis are connecting through conversation. Roman isn’t a person who seems comfortable opening up to anyone — let alone a support group — so the fact he feels bonded to Dennis is like a weight lifted from his shoulders. It’s these moments in the film where O’Brien is able to demonstrate his range as an actor, going from vulnerable to angry in the matter of moments.
There was an effort once made to make O’Brien the next leading man (through one good “The Maze Runner” movie and two bad sequels), but those movies never took off. He’s leaned more into supporting roles, but “Twinless” shows him at the height of his powers by modulating dual performances through an endless scope of emotions. Roman has been through something tragic, with the extra layer of looking like his brother, and O’Brien’s performance navigates that tricky emotional terrain.
When “Twinless” begins taking dramatic turns and revelations come about, the film feels more like a “screenplay movie” (sounded good on paper, but is mixed in its execution). “Twinless” isn’t brought down by its third act reveals, but they don’t elevate the movie; they’re included for the drama of it all. But, when Dennis and Roman are simply talking in hotel rooms over sips of bourbon, “Twinless” provides some of the strongest movie moments of the year so far.
