CCFF 2025 – Brother Versus Brother & Twinless
Sometimes, you can find subject matter or themes that run through the films curated for a film festival. Whether planned that way or purely coincidental, finding a connection amongst the scheduled movies is still quite interesting. On Day 2 of the Chicago Critics Film Festival (CCFF), two films playing back-to-back, “Brother Versus Brother” and “Twinless,” revolved around the subject of twin siblings in their respective plots. Both are comedies, one using music and the other using some dark subject matter, both entirely original and creative in their approaches.
Below are my thoughts on both:
BROTHER VERSUS BROTHER
Ari Gold directs the original musical comedy, “Brother Versus Brother”, which stars himself and his identical twin brother, Ethan Gold, who wrote all the music for the film. Calling themselves the Brothers Gold (because “Gold Brothers was already taken online, Ari states), the two troubadours walk the streets of San Francisco, Ari with a ukulele and Ethan with his acoustic guitar, blending vocals as they make their way to a local tavern where they intend to play music. The outgoing Ari might find love when he befriends another singer/guitarist, Louise (Lara Louise), while Ethan has a more serious focus on the music. They get concerned when their 99-year-old father (played by real father, Herbert Gold) doesn’t show up to their tavern gig, as promised, and they decide to walk to his apartment.
The film’s goal is to embody what executive producer Francis Ford Coppola considers “live cinema”, wherein a filmmaker captures an improvised, unbroken shot for an audience. While it may seem like a documentary because of that approach, it’s best to consider it a performance with a story to tell, albeit one with a looser structure than usual. The art comes from the movement of characters and location, and the way that’s done here reminds us of the spontaneity of life and that any moment can brim with potential opportunities or enlightening encounters.
The Brothers Gold presents a seamless combination of real-life and controlled real-life. The streets they walk have a distinct aura, whether it’s for the Beatnik scene that includes Kerouac Alley or the lively sounds of Chinatown. The locations are as important to the film as the music. It’s obvious some people they come across are involved, while most everyone and everything around them is not.
As for the catchy title, it’s more about brotherly banter than any arguments or fisticuffs. Enough time is spent with the brothers (playing versions of themselves) to understand who they are and what’s important to them. There’s requisite rivalry and some ribbing, but it all comes from a place of admiration and love. The third act of “Brother Versus Brother” provides a touching sweetness as the brothers finally catch up with their father. Overall, it’s pretty impressive to experience a film shot live like this become something so personal and touching.
RATING: ***
TWINLESS
This is the original material you hope to discover at a film festival. It is rare to come across a dramedy as unique and bold as “Twinless” with a clever screenplay that deftly balances between hilarious moments and those that are heartbreaking and horrifying. All I knew going in was that the film premiered at Sundance this year and there was a lot of buzz about it. Knowing nothing about this surprising sophomore effort from writer/director James Sweeney (who also plays one of the leads) is the best way to experience “Twinless”, which includes a career-best performance from Dylan O’Brien and a star-making turn from Sweeney.
The challenge is talking about “Twinless” with those who haven’t yet seen it. Despite wanting everyone to check it out, it’s also apparent that viewers should go in blind. So, here’s what I’ve been saying since seeing it recently: “Twinless” is about two guys, Roman (O’Brien) and Dennis (Sweeney), who find an unexpected kinship after meeting at a Portland, Oregon, grief recovery group for twins who’ve lost their twin. That is to say, they’ve died, and the surviving twin is now “Twinless”.
The recovery group is an intriguing concept that is likely an actual thing that exists and something I can’t recall ever seeing portrayed on screen. Roman is having a hard time with his loss, arguing with and blowing up at his mother, Lisa (Lauren Graham), as they sort through Roman’s belongings. She suggests therapy, which is how Roman meets Dennis and the two hit it off and wind up spending a great deal of time together, doing things like grocery shopping, going out to dinner, or just hanging out. They get each other, and it probably helps Roman that Dennis is gay, since Rocky was also. There’s a certain familiarity, at least for Roman. As for Dennis, there’s more to him than he initially lets on, and things get complicated when Roman starts dating Marcie (a wonderful Aisling Franciosi), a receptionist where Dennis works.
There’s so much more going on in Sweeney’s film, and it’s impressive how many of these flawed and complex characters feel like real people. Sweeney excels at creating spot-on dialogue that populates “Twinless” with so many memorable lines that are delivered with sharp comic timing or gutting simplicity that cuts right to the heart. O’Brien shows a combination of strength and vulnerability that is funny and also quite endearing. At the same time, Sweeney handles a tricky role with the right amount of charisma and sarcasm that hides a lonely soul. As a director, Sweeney makes some refreshing choices, especially during a fun sequence involving a split-screen that’s visually exciting while drawing fitting parallels to the character arcs.
“Twinless” is laugh-out-loud funny and exceptionally thought-provoking, making it that rare dramedy that excels on all levels. It’s a blast to experience, offering many surprising moments. I can’t wait to see it again and anticipate anything else Sweeney works on.
