Films for Breakfast

There’s a distinctly “Sundance” quality to James Sweeney’s Twinless – which feels only fitting, given that it made its premiere there earlier this year. Both in its presentation and in its offbeat yet heartfelt premise, the film carries the hallmarks of the festival’s most unique discoveries. The story follows Roman (Dylan O’Brien), a mild-mannered everyman whose world is thrown off balance after the sudden death of his twin brother, Rocky. While struggling to process his own grief, and manage his mother’s (Lauren Graham) heavy sorrow, Roman stumbles into a uniquely specific support group: one devoted solely to people who have lost a twin sibling. It’s here that he meets Dennis (played by James Sweeney himself), and the two form a surprising and genuine bond.

This is an already a terrific premise for a film, but Sweeney isn’t content to simply tell a straightforward story of loss and healing. Instead, he twists the idea in as many directions as possible, constantly reshaping expectations and even tones and genres for its entire duration. For the most part, it works nicely – I won’t dare spoil where the film ultimately goes, but there were moments that genuinely shocked me in ways few films have this year. Admittedly, Sweeney’s ambition sometimes takes precedence over delivering a more polished or accessible narrative, but that’s also part of the film’s charm. I admire when a filmmaker commits to something so uncompromising and singular.

James Sweeney pulls double duty here, as both one of the film’s two leads and its director, and the result is genuinely impressive. Though I missed his debut feature Straight Up, what struck me most here is the empathy he brings to these characters, even at their most unlikable. He demonstrates a sharp visual sensibility as well, using framing and atmosphere to amplify the mood and emotional weight of each scene. That artistry is further elevated by Greg Cotten’s effective cinematography. As an actor, Sweeney is equally strong: his portrayal of Dennis is raw and vulnerable, yet laced with moments of genuine humor. It’s a nuanced, deeply felt performance.

That said, the true standout is Dylan O’Brien, who delivers what may be the best performance of his career. In flashback sequences as Rocky, he’s great, but it’s in his role as Roman that he truly shines. Roman may not be the brightest or most socially adept character, but O’Brien imbues him with an earnestness and deep care for those around him. More importantly, he channels the heavy cocktail of grief, anger, and longing in a way that feels so authentic. It’s a commanding, heartfelt performance that lingers long after the credits roll.

The writing is sharp throughout, and the way the story gradually unfolds stands as one of the film’s greatest strengths. That said, there are moments when it feels like certain revelations are being withheld more to stretch out the narrative than to serve it, and by the end, the payoff doesn’t quite match the scope of what’s been set up. Still, the final act carries a deep, lingering melancholy that proves both engaging and surprisingly powerful, leaving the film on an affecting note.

Twinless isn’t a flawless film, but its ambition is part of what makes it so compelling. It reaches further and risks more than most films of its kind, and even when its ambition gets a little unwieldy, it’s hard not to admire the boldness on display. Anchored by two terrific performances from Dylan O’Brien and James Sweeney, and guided by a script that’s both clever and emotionally resonant, it stands out as a deeply personal and memorable work. It may stumble in spots, but its willingness to take chances and its raw emotion makes it one of the more memorable films this year.

4/5