Aaron Katz's new film GEMINI (2017) is a superbly constructed narrative that well establishes him amongst the ranks of other suspense directors like Alfred Hitchcock, Claude Chabrol and David Fincher. Not only is the film edited (by Katz himself) with a vigorous rhythym and pacing, but the cinematography is flawless. Katz's eye for stunning composition is nothing new. For it was displayed in his previous films such as DANCE PARTY USA (2006) and QUIET CITY (2007), but he took a turn when delving into the mystery genre with COLD WEATHER (2010), where he began honing in the balance of framing with pacing. There are many shots throughout GEMINI where he uses mirrors to reflect, lines to give the feeling of entrapment and even incorporating the clever device of the detective--one that bears similarities to John Williams' role of Chief Inspector in Hitchcock's DIAL M FOR MURDER (1954) and Jimmy Stewart's Rupert Cadell in ROPE (1948). The film does not solely rely on the mechanics of the mystery genre or its visual components, for Katz works here with larger A-list actors such as Zoe Kravitz, Lola Kirke and John Cho--equally deserving recognition for stellar portrayals as cogs in the the Hollywood system. Overall, there are many layers thematically but one worthy of mentioning is the notion of celebrity, fandom, obsession with technology and how truth can be skewed in the matter of seconds. GEMINI is certainly a film that examines the similarities and differences between the small screen, big screen and the question of where reality fits between them.
