Dual, the latest film from writer/director Riley Stearns, has been anything but ordinary
or predictable for much of its runtime.
How could it be, considering it's the tale of a terminally ill woman named Sarah (Karen
Gillan) who decides to get a clone of herself so that her loved ones don't have to miss
her when she's gone?
When Sarah makes an impossible recovery, though, she quickly learns that this planet only has
enough room for one of them.
Only a violent confrontation can solve this problem, thus, she and her clone will have
to have a duel to the death to determine which of them will continue to exist.
In the film's final half-hour, both versions of Sarah realize that they don't have to fight
just because a duel is the standard resolution for these situations.
They decide to go off the beaten path and travel into the forest together on the day
of their showdown.
After months of training, the original Sarah, who was previously established as a quiet
isolate square, has changed.
She's now very excited about the prospect of them collaborating and subverting social
norms.
Shortly into their journey, however, they come to a halt, with Sarah's clone staring
menacingly into the eyes of the original Sarah.
Both the audience and Sarah realize at this point that this is not going to be a fun night
away from society's rules.
This clone is about to win the battle, but not in the way you might expect.
Though the camera cuts away before we see anything, it's clear that Sarah dies in this
forest, with the doppelganger lulling her into a false sense of security and making
her even easier to kill.
Following this, Sarah's clone assumes the identity of the original Sarah, claiming that
her doppelganger is no longer a problem and that the duel has been forfeited.
Given their similar appearances, as well as the fact that key figures in Sarah's life,
such as her ex-boyfriend and mother, prefer the clone, it's not difficult for her to assume
control of the original Sarah's life.
However, there are some significant internal differences between them.
The Sarah clone, in particular, is unable to drive, and her haphazard abilities behind
the wheel make it clear which Sarah is the real one.
This distinction is highlighted in the final scene of Dual, when the clone Sarah drives
out to begin her normal daily routine.
While out and about, the din of nearby traffic and the overwhelming nature of daily life
cause her to reflect on everything she has given up to get to this point.
The clone of Sarah sobs as she struggles to stay in one lane while driving.
Stearns chooses to end Dual in this moment of despair, of realizing your own flaws.
Given the satirical nature of his films, including the 2019 indie gem The Art of Self-Defense,
ending on such a bleak note is appropriate for Stearns.
The goal is to demonstrate the short-term benefits of sacrificing others for your own
pleasure, a trait that is considered "positive" in traditional capitalist and patriarchal
societies.
It's also a reminder that killing or violence will not bring you the peace you seek.
Sarah's clone killed the original Sarah, and all she got was an existence that constantly
reminded her that she'll never be the person she's impersonating through things like driving.
It's a bleak conclusion that no one could have predicted when Dual began, making it
the ideal conclusion for this film.
These scenes are amusing and unique, such as the two of them practicing a slo-mo battle
or mixing things up with some hip-hop dancing.
These scenes have a completely different tone than the rest of the film; they're brimming
with energy, wit, and unpredictable twists.
When the opportunity arises to address issues of identity and anxiety, "Dual" avoids them
at all costs.
The "replacement" kidnaps Peter right in front of Sarah's eyes.
Peter delivers a terrible speech about how Sarah "let herself go" and how the replacement
Sarah is far superior.
Sarah tries desperately to "re-enter" her old life, but what was so amazing about it?
What ties Sarah's existence together?
Anything?
Both the harried emotional Sarah and the pert arrogant replacement are convincingly played
by Gillan.
However, there is no sense of the strangeness of having a "you" running around.
Where Dual may lose some people is in the unexpected third act.
Up to here, the movie seems to be building up to one thing, but Stearns doesn’t seem
interested in delivering the expected climax for a film like this, opting to go in another
direction.
Some will love this twist; others will hate it.
To me, it’s so unusual that I’m not sure he actually could have ended it another way,
as to deliver the expected climax almost would have betrayed the movie’s skewed vibe.
The Art of Self Defence had a similar ending, and indeed Stearns seems to be developing
a specific voice as a director.
While I hesitate to call him commercial, I also think he’s a cult figure just waiting
to happen.
I had a good time with Dual, although it’ll probably rub some viewers the wrong way.