Love, Guilt, and the Ghosts That Never Leave

Read Time:5 Minute, 36 Second

MOVIE REVIEW
Double Exposure
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Genre: Drama
Year Released: 2024, 2025
Runtime: 1h 33m
Director(s): Howard Goldberg
Writer(s): Howard Goldberg
Cast: Alexander Calvert, Caylee Cowan, Kahyun Kim, Anne DeSalvo, Sara Alicia Garcia, Christopher Maleki, Christian Vunipola, Simon Kim, Chris Devlin, Drea Garcia
Where To Watch: available on VOD, cable, and satellite platforms, as well as on DVD, February 18, 2025

RAVING REVIEW: Memories have a strange way of warping reality, shaping the present in haunting and unavoidable ways. DOUBLE EXPOSURE is a film that thrives in this liminal space, blending psychological drama with a surreal approach to storytelling. At the center of it all is Peter (Alexander Calvert,) a photographer whose life is split between past and present choices, entangled in a narrative that refuses to play by conventional rules. Howard Goldberg takes an ambitious leap with this mind-bending exploration of guilt, obsession, and how unresolved emotions can twist a person’s sense of time. While its unique approach to storytelling offers moments of brilliance, the film occasionally gets caught up in its complexity, leaving viewers looking for some clearer solutions.

There’s a deliberate refusal to present events in a clean, linear fashion, which adds to the disorienting effect of Peter’s journey. The film jumps between fragmented memories, distorted realities, and ghostly figures from the past, forcing the audience to piece things together alongside the protagonist. It’s an engaging concept but not one that always pays off. The shifts between timelines often feel more like an aesthetic choice rather than a cohesive way to enhance the story, making certain scenes feel weightless rather than impactful. When the film leans into its surreal nature, it shines, but when it tries to anchor itself in raw human emotion, it struggles under the weight of its ambition.

Peter’s relationships with two women drive the heart of the film. Sara (Caylee Cowan), his former lover, is both ever-present, sometimes metaphorically, sometimes literally. She represents everything unresolved in Peter’s past, a storm of manipulation, intensity, and toxicity that he can’t seem to escape. Sara’s unhinged tendencies take center stage. Cowan delivers a strong performance. Still, there’s a disconnect in how she’s meant to be perceived. The moments' transition from the woman Peter once loved to the chaotic force that dominates his memories doesn’t always feel organic, making her presence more of a necessity than a fully realized character arc.

On the other hand, Lora (Kahyun Kim) is the stability Peter should embrace but struggles to hold onto. As his wife, she’s present in the here and now, offering him a life beyond his self-imposed prison of regret. Kim brings a quiet strength to the role, playing a woman who recognizes she’s competing with the past but refuses to be completely consumed by it. The tension between Peter’s fixation on what was and his inability to appreciate what is makes for some of the film’s strongest moments. However, the script doesn’t always give Lora enough space to feel fully fleshed out, leaving her as a counterpoint to Peter’s turmoil more than a character with her internal struggle.

Visually, the film commits to its dreamlike aesthetic. The cinematography embraces shifting hues, soft focus, and distorted reflections to mimic Peter’s fractured state of mind. The score complements this approach, layering unsettling melodies reinforcing that time and memory are unreliable forces.

The film's dialogue and emotional execution are problematic. Some exchanges feel stilted, pushing melodrama where subtlety would have better served the characters. Emotional beats that should land with quiet devastation are sometimes overstated, making them feel more performative than genuine. This is especially noticeable in the more intense confrontations, where the writing tells the audience what they should feel rather than letting the performances do the heavy lifting.

The film plays with ideas of fate, regret, and self-destruction, but in doing so, it often leaves too much open-ended. Ambiguity can be powerful, but it sometimes comes across as indecisiveness rather than intentional complexity. Goldberg’s direction is embracing a style that challenges the viewer to engage with the material. There are moments when this approach results in breathtaking sequences, where the film's dreamlike quality fully immerses the audience in Peter’s perspective. However, there are just as many instances where this style works against the film, making it feel like it’s leaning too heavily on its aesthetic without always giving its characters or themes the weight they deserve.

Peter isn’t an easy character to root for. His indecision, inability to move forward, and self-destructive tendencies make him frustrating to watch. Yet, there’s something deeply human about his struggle. Many people carry past relationships like ghosts, unable to fully break free from the versions of themselves they were when they loved someone who no longer exists in their lives. The film captures this in a way that feels exaggerated and painfully real, making it one of the strongest emotional undercurrents running through the story.

DOUBLE EXPOSURE is a film that thrives on its contradictions. Its performances range from compelling to inconsistent, and its refusal to follow a straightforward structure will be its biggest draw or its greatest flaw, depending on the viewer. There’s an undeniable artistry to what it’s trying to achieve, but whether it reaches that potential will depend on how willing an audience is to embrace its tangled, often disorienting approach.

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[photo courtesy of FREESTYLE DIGITAL MEDIA]

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