![]() Lola Kirke, John Cho, and Aaron Katz on Punching Zoë Kravitz and Fame’s Pitfalls She’s also a confidant, but also more than that: more like a shadow consciousness for another human being. She’s an outsourced second self charged with all the boring parts of being human: keeping track of one’s schedule, having bothersome conversations, driving. Jill (Lola Kirke) is a personal assistant - an increasingly popular onscreen vocation for the current generation of aimless millennial protagonists - to a famous actress named Heather (Zoë Kravitz). The film opens on a photo-perfect Tesla parked on a residential street, with a disheveled 20-something at the wheel, lit up by the glow of her phone. noir and neo-noir that Gemini is in conversation with has traditionally been a space for sad sacks and hangdogs, but Katz isn’t afraid to embrace shininess. It’s also unapologetically, poetically synthetic, lacquered like an over-retouched within an inch of its life selfie. ![]() The textures are tough but florid, reminiscent of multiple varieties of smoke rings. Over a languorously slow tilt down from a row of palm trees silhouetted in a purply dusk sky, a nervous nu-rave synth line goes on a kind of haunted autopilot, accompanied by a sparse trap beat and a moody, meandering jazz piano. ![]() I can think of several kinds of music that encapsulate present-day Los Angeles aesthetically, but Keegan DeWitt’s score for Aaron Katz’s Gemini makes a compelling case for itself. ![]()
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