A successful doctor, Yukio's picture perfect life is gradually wrecked, and taken over by his avenging twin brother, who bumps off his family members one by one and reclaims his lover who is now Yukio's wife.
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Yukio is living a charmed life: he is a respected young doctor with a successful practice and a beautiful wife. His only problem is that his wife is suffering from amnesia, and her past is unknown. Things begin to fall apart, however, when both his parents die suddenly, killed by a mysterious stranger with Yukio's face. Only when Yukio confronts this stranger will the mystery of his identity, and his wife's past, be revealed. Written by
Jean-Marc Rocher <firstname.lastname@example.org>
A full-sized water well set with removable sections was constructed entirely above ground, for filming inside and from the "into" and "upward" perspective angles. It was about 60-70 feet tall. See more »
First things first: somebody needs to officially release this film in the United States. I see three thousand copies of Dude, Where's My Car every time I step outside, but when I want to see a beautiful and interesting film like Gemini, I have to track down a dubious bootleg on eBay. Pitiful.
The plot concerns a rich doctor suddenly thrown into a well by a man who looks exactly like him. The mysterious doppelganger takes over the doctor's identity, his household, and his wife, all the while laughing and taunting down the well at his imprisoned twin. As the mysterious lookalike gradually reveals the truth to the doctor, it becomes less and less certain which of the twins is the "hero" and which is the "villain."
Shinya Tsukamoto isn't a great director yet, but he's getting there. With Gemini he reveals a tremendous versatility, combining moments of sedate drama with hyperkinetic sequences of terror and joy. The actors are all magnificent (especially Masahiro Motoki in a complex double role), the cinematography is stunning, and the story is thoroughly intriguing and well told. It's not the best movie ever made by any means, but here and there Tsukamoto manages a few moments of real greatness, scenes where we genuinely become one with these characters and their needs. Watch the doctor, defeated and filthy at the bottom of his well, beg for a release from his suffering; watch the wife burst into tears as she remembers her past existence.
Tsukamoto knows what he's doing. He hasn't quite achieved true greatness yet, but one day he may just break through.
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