Dual is the latest film from indie writer/director, Riley Stearns, following his debut, Faults, and his previous effort, The Art Of Self-Defense. The film takes place in a not-too-distant future, where the terminally ill are allowed to create clones of themselves to take their place once they pass. That is the decision taken by our lead, Sarah (Karen Gillan), who desires an easy, simple, and seamless transition from her to her double for the emotional benefit of both her husband, Peter (Beulah Koale), and her mother (Maija Paunio), both of whom her relationship is strained and far from ideal.
Fortunately for Sarah, she later finds out that her terminal illness is gone, but unfortunately for Sarah, her double not only adjusts to her life quickly, she also begins to get preferential treatment from Sarah’s mother and husband, forcing her out on her own. Since doubles aren’t allowed and Sarah’s desires to stay, one has to go, and the only way to settle that is a legally sanctioned and scheduled fight to the death. Sarah isn’t much of the fighting type, but for the sake of her survival, she decides to train with a local instructor, Trent (Aaron Paul), to whip her up into shape for the big fight, not only physically but mentally as well.
Similar to his previous films, Dual is a low-key feature with big ideas and a sense of humor that is just as big and dry. If there’s anything else I could compare it to, it would probably be something like The Lobster. I found Dual to be incredibly funny, and the dry and casual delivery served as an effective contrast to the literal life-and-death stakes that we’re dealing with. I personally found Aaron Paul to be the stealth MVP in terms of capturing Stearns’ particular, idiosyncratic sense of humor. It’s a side of him we haven’t really seen before, and I couldn’t get enough of him.
The sci-fi elements at play are fairly interesting as well, even if the ideas in and of themselves have been done before. The general vibe of it feels like it could have been a lost cult sci-fi classic from the 70s, with the likes of Logan’s Run, Silent Running, or Invasion Of The Body Snatchers, but obviously comparably limited in scale due to its smaller budget. I like how it digs into the minutiae of the business of doubles, less on how they’re made, and more on how they are assimilated. I wish the film could have explored this more, but what it gives is enough to paint a bleak but amusing picture of this future.
Ultimately, it’s not so much a film about its big sci-fi concepts, instead more focused as a character study. Sarah is a miserable person, and the film uses the idea of fighting this clone as a blunt metaphor for changing and growing as an individual, moving past previous old habits and self-destructive tendencies, and actually working on yourself, finding what makes you feel happy and fulfilled. And while some might think the ending might potentially undercut this messaging, I think it merely finds a different way to reframe it, one that definitely fits the cynical atmosphere. Gillan destroys it, handling the weird tone, the offbeat rhythm of the writing, and the emotional swings this film offers. It’s easily the best I’ve seen from her.
The highlight of a film like Dual is in the balance. Riley Stearns clearly has a strong vision for what he wants, and he’s able to walk that tightrope of intensity, thoughtfulness, and with plenty of snark to spare. It’s a funny movie, a dark movie, a film that makes you think and reflect. There is a lot of care put into the craft here, which enhances the contrast between the humor and the genuine terror inherent in the premise. It definitely cements Stearns as a smart and bold filmmaker, and I’m excited to see what he has in store in the future. Dual might be a small and idiosyncratic film, I think it has a lot of appeal for general audiences who are willing to go with its tone and style. It demands just enough for you to remain engaged, but not so much to keep you at arm’s length. It’s one I highly recommend, easily one of 2022’s biggest highlights.
Dual is now out in select theaters, and will hit VOD platforms and AMC+ on May 20th.