The Double


Two Jesse Eisenbergs?

If it doesn’t quit fulfil its promise as a Dostoevsky adap, Richard Ayoade’s follow-up to Submarine confirms his directorial talent. With its dank suburbia and oppressive offices (where no-mark Jesse Eisenberg meets his cockier doppelganger), The Double has shades of Gilliam’s Brazil, but a stronger parallel is with Soderbergh’s Kafka (1991): both ostentatiously styled second films shot in black-and-white and steering as far away from sharp, romantic debuts as possible.

What The Double does prove is that Ayoade’s work is at its best when it’s funny, and that the magic of Submarine wasn’t all borrowed from the French New Wave – he’s the real thing.

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