James Sweeney’s second feature following “Straight Up” represents a significant step forward for the writer-director, demonstrating his ability to navigate tonal complexity while tackling profound themes of grief and identity. “Twinless” premiered at Sundance to strong reception, positioning Sweeney as an emerging voice capable of balancing dark humor with genuine emotional depth. The film benefits from Dylan O’Brien’s committed dual performance and strong supporting work from Lauren Graham, Aisling Franciosi, and Chris Perfetti, though its success ultimately depends on Sweeney’s confident filmmaking and sharp observational writing about modern malaise.
The film’s off-kilter tone—combining the absurdity of “Problemista” with the wry sensibility of smaller indie comedies—creates a viewing experience that shocks before it settles. Like Julio Torres and Joanna Arnow, Sweeney walks a tightrope between dry humor and devastating emotion with varying degrees of success, but even when “Twinless” falters, it steadies itself through other strengths.
Let’s dive into the full review after watching the latest trailer.
After his twin brother Rocky dies, Roman (Dylan O’Brien) becomes emotionally unmoored in Portland, struggling with the question of what life means without his other half. The funeral proves awkward as mourners line up to offer condolences to Roman and his mother (Lauren Graham), only to start crying upon seeing the living twin who looks so much like his deceased brother.
Roman joins a support group for now-twinless siblings, led by Charlotte (Tasha Smith) in a spare multimedia room where participants share memories over inedible cookies and tepid beverages. There he meets Dennis (James Sweeney), a lanky graphic designer and hopeless romantic. The two bond over their shared grief, relying on each other first for small errands, then emotional support. Roman mourns never getting to truly know Rocky, who was gay, extroverted, and well-traveled, recalling how their conversations stayed surface-level—their last talk was about socks.
A blunt cut shifts perspective from Roman to Dennis, revealing that Dennis knew Rocky before his death. Through flashbacks, we see Dennis and Rocky spend an intimate evening together, with Dennis admitting to an obsession with twins and childhood fantasies about twin relationships to combat loneliness.
Dylan O’Brien delivers what may be his most impressive performance to date, playing both Roman and Rocky with distinctly different personas. The “Maze Runner” actor transforms completely between roles—Roman’s moody abrasiveness and struggle with idioms versus Rocky’s quick wit and seductive charm. O’Brien’s dual performance anchors the film’s emotional core, particularly in scenes where he navigates Roman’s grief as it morphs from sadness to rage and back again.
Lauren Graham brings maternal warmth and authentic grief to Roman’s mother, grounding the film’s more heightened moments with genuine emotion. Her scenes with O’Brien create believable family dynamics that enhance the story’s emotional stakes.
Aisling Franciosi, known for “The Nightingale” and “Speak No Evil,” and Chris Perfetti from “Abbott Elementary” provide excellent supporting work, deploying witty retorts and existential worries with confident timing. James Sweeney cast himself as Dennis, creating a complex character whose compulsions read as desperate loneliness rather than mere quirkiness.
Tasha Smith steals scenes as Charlotte, the support group leader, bringing both humor and genuine care to what could have been a thankless exposition role.
Sweeney collaborates again with “Straight Up” cinematographer Greg Cotten, who alleviates Portland’s somber grayness with sharp neons that support the film’s tonal shifts. The visual palette changes effectively as perspective shifts between characters, reinforcing the story’s themes about different ways of seeing the same events.
Editor Nik Boyanov delivers precise cutting that supports Sweeney’s confident filmmaking, particularly in the blunt transitions that shift the film’s mood and perspective. The editing maintains engagement throughout the film’s revelation-heavy structure.
Costume designer Erin Orr creates distinct visual identities for Roman and Rocky—Roman’s black sweatshirts and jeans versus Rocky’s more stylish wardrobe and signature mustache—that help sell O’Brien’s transformation between characters.
The production design creates authentic environments from support group meetings to Portland apartments, while sound design supports the film’s intimate character moments without calling attention to itself.
Where “Twinless” particularly excels is in Sweeney’s gripping screenplay, which pockets withering observations on grief and loneliness alongside clever narrative twists. The script showcases Sweeney’s skill in translating symptoms of modern anxiety and confession-prone young people searching for connection.
The film’s treatment of grief feels surprisingly compassionate, with Sweeney handling grieving characters who demonstrate unexpected emotional intimacy. One standout scene has Dennis encouraging Roman to process emotions by talking to him as if he were Rocky, staged in intimate, almost claustrophobic close-up that proves deeply moving.
However, the film’s balance between earnest grief meditation and darker heightened stakes occasionally feels unsteady. Some revelations threaten to undermine the genuine connection between Roman and Dennis, though Sweeney’s confident direction eases these bumpier transitions.
“Twinless” compels from opening moments and rarely lets up, embodying the “never let them know your next move” philosophy while maintaining emotional authenticity. Sweeney demonstrates deep consideration of twin relationships combined with his own observations about loneliness, creating something both specific and universal.
The film rewards viewers who enter with minimal information, as its narrative surprises drive much of the emotional impact. Sweeney’s ability to shift between dry humor, devastating grief, and emotional poignancy marks him as a filmmaker worth following as he develops his distinctive voice.
While not every tonal shift lands perfectly, “Twinless” succeeds through committed performances, confident direction, and genuine insight into how people process loss and seek connection in an increasingly isolated world.
Letter Grade: B+