I’d heard a lot about writer/director/producer/star James Sweeney’s Twinless since it debuted earlier this year at the Sundance Film Festival, where it won one of the festival’s biggest prizes, the Audience Award. I made sure to keep the details I read about the film vague, as I was told this was the kind of film that’s better if you know nothing going in. And having seen the film, I definitely agree with that. So, in today’s review I’m going to do my best to preserve that experience for you, the viewer, because perhaps the best thing about this movie (and there are plenty of things to choose from) is its sense of discovery. I might have to come back at some point for a more spoiler-heavy review, TBD. But I’ll just say now that Twinless is one of the best films I’ve seen all year, full stop.

Roman (Dylan O’Brien) just lost his twin brother Rocky after he was hit by a car and killed. He attends a bereavement support group for people who have lost their twins, where he meets Dennis (James Sweeney), who reminds him of his deceased brother. The two strike up an unlikely friendship. Other things happen.

Yes, my plot description is purposely vague, and there’s good reason for that. Like I’ve already said, with this one it’s best to go in as blind as possible. But what I will tell you is that it feels like a bit of a magic trick when a movie can have all kinds of film festival buzz and preconceived expectations going into it and then the movie that I finally get to watch months later still feels like a where-the-hell-did-that-come-from knockout and surprise me in all the best ways. I feared early on that this film would not be able to keep up the energy that it establishes early on, and I’m always happy to be proven wrong.

Twinless is an emotionally complex, hilarious and devastating film about loss, loneliness, guilt, longing and the necessity of human connection. It’s mean yet empathetic, it’s twisted, yet sweet. It’s a total masterclass of tone and plotting, and it’s absolutely astonishing that James Sweeney has only made one other film prior to this – 2019’s Straight Up, which I have not yet seen but absolutely will soon. If Twinless is any indication, we might be dealing with one of the new greats here. The way this very specific, very difficult tone is managed and handled and the deliberate way this script unfolds tells me that we’re in the assured hands of a filmmaker who absolutely knows the story they want to tell and how to tell it. It’s going to sound overly gushy or hyperbolic, but early into his career, I think it’s possible James Sweeney may have already made his first masterpiece.

Dylan O’Brien won the prestigious U.S. Dramatic Special Jury Award for Acting at Sundance this year, and having just watched the film it’s easy to see why. Anyone who’s familiar with O’Brien’s work from his early days on MTV’s Teen Wolf or the Maze Runner series knows that he’s one of Hollywood’s greatest untapped talents, and in a just world he would be top of the list in this year’s Oscar conversation. But between the release date, the distributor and the shocking lack of buzz Twinless is receiving, I fear it may fall through the cracks and that’s a shame. The balance between Roman’s stoic, restrained persona and the intense grief and guilt he is harboring below the surface is something O’Brien plays expertly. He has a monologue scene where his character kind of lets his guard down, and this scene totally blew me away. Also I don’t think it’s a spoiler to say O’Brien is playing dual roles here – we see the deceased brother Rocky in a few flashbacks. And the way O’Brien is able to allow that character to also feel like a fully developed person as well, even with limited screentime, is pretty incredible.

And I hadn’t heard of James Sweeney prior to this film, and he immediately enters that small list of names that I’ll follow where ever their career goes. As a director, Sweeney finds ways into this story that feel original and fresh. As a writer, the way he lets the film’s events unfold is deeply compelling and keeps the viewer on their toes. And as an actor, he’s incredibly charming and likable but you’re always looking at him with a raised eyebrow. The way Sweeney is able to keep all the plates spinning here without ever letting any of it fall apart is nothing short of remarkable. And to write a part like this for yourself, this difficult and complex character, and then to pull it off this masterfully, is something I’ve seen few accomplish this effortlessly. Keep an eye on James Sweeney, you’re going to be hearing that name a lot in the future.

In our supporting cast, we have Aisling Franciosi, who I remember from last year’s Speak No Evil remake, as Dennis’ easygoing coworker Marcie, who he sets up with Roman. Her performance has a lot of warmth and heart, and she’s a pleasure to watch. We also have Lauren Graham, who we don’t see nearly enough these days, as Roman’s mother Lisa. Lisa is also going through a complicated journey of grief, and even though Graham doesn’t have a ton of screen time here, she makes the most of what she’s given, and you feel like Lisa has her own bigger story begging to be told. 

The way Sweeney’s script walks this elaborate tonal tightrope throughout is emphasized by his incredibly confident directorial vision. He knows exactly what story he wants to tell here, and it’s so exciting to behold throughout. Cinematographer Greg Cotten, who also shot Straight Up for Sweeney, frames this in some interesting ways. Jung Jae-il, who works on most of Bong Joon-ho’s films, composed the score, and it doesn’t stand out all the time, but it’s got some nice moments as well. The most significantly successful tech aspects come from Sweeney’s own directorial vision and his innovative, endlessly surprising screenplay and how well defined these characters are. Roman is soft-spoken and a bit hotheaded, Dennis is queer, witty and a little deranged. And the dichotomy between these two vastly different character types and the way these two play off each other is fascinating to watch.

It’s difficult to talk about a movie without really talking about it, but what I’ll leave you with is that Twinless is one of the most exciting trips to the movies I’ve experienced all year. The moral ambiguity of Sweeney’s screenplay, the cathartic emotions, the complex characters, it all culminates in a film that I certainly won’t be forgetting anytime soon, and one I’ll have to go back and rewatch as soon as I possibly can. Twinless is weird, hilarious, unhinged and bizarre and simultaneously heartfelt, earnest and emotionally devastating. It’s a fascinating character study about isolation, grief, guilt, and queer identity and the relationships in life that change us. Anchored by the incredible performances by Dylan O’Brien and James Sweeney himself, Twinless is a thoughtful and shocking work of genius. I’ve only seen this film once, and I need a couple more viewings before I can confidently say this, but after one viewing I don’t think there’s a single thing about this film I would change.