Dual introduces us to Sarah (Karen Gillan) who was recently diagnosed with a rare and incurable disease and is unsure how to process the news. As she deals with her coming death, Sarah decides to ease the pain of her family and boyfriend Peter (Beulah Koale) by participating in a simple futuristic cloning procedure called “Replacement” where a clone of her is created to take her place once she passes on. Sarah’s last days will be spent teaching the clone how to assume her life. Soonafter, Sarah’s disease suddenly improves and her diagnosis of death is null and void. Her clone however has already established a life, including seducing Peter, and will not go quietly. As required by law, the two must now duel to the death with the winner getting to live on as Sarah. Sarah hires Trent (Aaron Paul) to train her for the battle and in the process learns a lot about herself.
Dual is a completely bizarre film, but not in a bad way as it is evident that this is totally what director Riley Sterns sought to do with this story and it’s done in a way that is fully entertaining. The acting from Gillan, Paul, Koale, and even Maija Paunio who plays Sarah’s mother feels strangely detached from the absurdity of the entire premise and world of the film which adds to the bizarre feel of it and perfectly communicates its comedic aspect and the deadpan nature of Sterns’ writing. Gillan’s double duty as both Sarah and her clone highlights the struggles that both women face due to the impossible situation they find themselves in. Sarah rightfully wants her life back while her clone obviously does not want to be destroyed after experiencing all the pleasures of being alive. Gillan’s ability to portray both of these mindsets, sometimes onscreen across from herself, is a unique display of skill that is to be commended and does a lot to increase the quality of the film overall.
The film’s use of the duel-dual homophone in both its title and story is clever and apt for its theme about internal battles and struggle. Even before her diagnosis, Sarah is dealing with a relationship that is struggling and at the brink of ending and a mother with whom she doesn’t have the best relationship. When she loses everything following her diagnosis and the arrival of her clone, Sarah is finally forced to discover who she is outside of her relationships with those closest to her. Only when she loses it all does she take control of her life. The duel aspect of settling disputes between dual persons also strikes as a bit of allegorical social commentary on how our society makes a spectacle of personal issues through social media, etc. In the age of West Elm Caleb, are things such as fights to the death for spectacle that far off?
Dual ends cleverly with a callback making things come full circle, but although the film is decently funny and entertaining and evokes some thoughts about the world around us, it ultimately feels not fully fleshed out, particularly in comparison to Sterns’ previous work. The satire regarding the duals and their treatment in society is touched on briefly, but isn’t delved into further. Sarah’s life struggles do take center stage however and Gillan’s performance helps to buoy this aspect of the film even though that isn’t as impactful as it could have been either. While it does feel like a lot has been left on the table, Dual is an interesting film that showcases Gillan’s talent and could make for a decent night in.
Image: RLJE Films
