NEW RELEASE FILM REVIEW
Seen at Prince Charles Cinema, London, Saturday 10 January 2015
I forget sometimes how weird and creepy Canadian films can be. There was a period in the 90s, on the back of Atom Egoyan’s festival successes, when a bunch of them made it to cinemas, but aside from David Cronenberg’s singular oeuvre, there have since then been only occasional examples that have made it through — most recently for me, 2012’s Upside Down. This film, too, is written by a Spaniard (based on a Portuguese novel), but thankfully it’s far better, while still retaining that brittle sense of cabin fever that so many Canadian films inspire, as if created in reaction to the blandly reassuring mainstream cinema from over the border (there’s a similar quality to New Zealand cinema, too, sometimes, which is where I grew up).
The central conceit, like last year’s The Double, concerns a person who meets their doppelgänger (both here played by a bearded Jake Gyllenhaal), but where that film (disappointingly for me) toyed with black comedy, Enemy is far more insidious. The film wastes no time in plunging us into a strange dreamlike world of alienation and dread dominated by an unsettling spider metaphor, so after those initial sequences have passed, there remains something a bit existentially bleak about our hero Adam’s life as a Toronto university lecturer delivering lectures about fascism and control to his students.
The introduction of his double Anthony, an actor, allows for a bit of back-and-forth between them, but aside from one dust-up, this is mainly a sort of psychic transference, as they begin to covet one another’s partner (Sarah Gadon and Mélanie Laurent, also superficially similar in appearance), while each starts to lose control and the two identities become less clearly differentiated. The film toys at a formal level with the doubling theme, repeating scenes, and looping back on itself a little, but always presents itself with a cold aloofness signalled by its yellowish colour filters and series of bleak, modern locations. The spider metaphor continues to reappear through the film, and results in an uncanny final scene, without which the film might have passed from my mind quicker, but its very opacity and inscrutability (as well as the suddenness with which it takes place and then ends) makes it something of an unexploded mine within one’s mind, and so the film sticks with me a week later, as I continue to ponder what it all means.
CREDITS || Director Denis Villeneuve | Writer Javier Gullón (based on the novel O Homem Duplicado by José Saramago) | Cinematographer Nicolas Bolduc | Starring Jake Gyllenhaal, Sarah Gadon, Mélanie Laurent | Length 90 minutes