Dual: NZIFF Review

Riley Stearns (The Art of Self-Defense) returns with a Black Mirror-esque movie that proves to be as tragic as it is poignant.

Doctor Who and Guardians of the Galaxy's Karen Gillan is Sarah, a remote and emotionally flat woman who discovers she's dying with a disease that's 100% going to kill her. Even though the doctors tell her there's a 2% margin of error, she's told to make her final plans for life.

Discovering a cloning service that will give her family and friends a version of her to live on after her death, she opts for the process. As the clone adopts her way of life, Sarah's stunned to find out that 10 months later, despite the initial prognosis, she's gone into full remission.

The only way to get her life back now is a fight to death with her clone...

There's a stilted unnatural bent to the dialogue and Gillan's performance throughout Dual, but the rhythms of this sci-fi tinged story are extremely satisfying, despite its lo-fi nature. It may be about high concepts, but this movie works on its basic levels by tapping into human insecurities, dystopian twists and a feeling that something's not quite right all the way through.

There's an intrigue coursing through Dual's veins, and while there's also some humour to be found in the offbeat moments, it's all rooted in a bittersweet feel that's based on veracity. Dual taps into the loneliness of life, the staccato speeches belying the emotional truths which are being passed, and an inherently subtle take on the human condition.

In among it all is Gillan, whose dual role here requires as much subtlety as it does hands-off. Her interactions with both Aaron Paul's trainer and Beulah Koale's partner work because of the edge Gillan brings to the party. You end up wanting her to win, but you know deep down, there's always a better version of you that's going to win over.

Dual is a thrill; a cold concept film that has deliciously deadpan edges, but also a uniquely human moral edge.