Synopsis
Two (Spanish title: Dos) is a psychological thriller filmed in Spain in 2021 by Mar Targarona, who also directed the film. The film was co-created with Christian Molina and Mike Hostench. Currently, the film can be accessed on Netflix. Viewers appreciated the film’s deeply disturbing premise and its claustrophobic execution. The film is minimalist in essence, blending body horror with psychological tension, and is driven by discomfort and moral ambiguity.
Surgical conformation is ‘stylishly’ and ‘horrendously’ delivered in the opening scene of the movie. The pair of Sara and David played by Marina Gatell and Pablo Derqui respectively, awaken in a brutally sterile yet dystopian looking bedroom conjoined at the waist. The two have never met and possess no prior knowledge to the circumstances which perpetually lead to them being attached. Their state of panic is discomfortingly bold as they attempt to grapple with where they are, why they are glued together, and worst of all, who did it to them.
As the movie unfolds Sara and David slowly understand that they have been abducted. The mutilation serves a purpose. While conjuring up a plan to escape, they quickly understand that all exits are locked or filled to the brim with barriers. The captors very clearly predict the moves by previous captives. The two are forced to work together despite irreconcilable personalities, deep emotional discomfort, trust issues and conflicting burnouts. While intertwined in this mental limbo, the two slowly start to piece together clues left in the room and on their bodies.
Gradually, the enigma starts to reveal itself. The discovery of files, photographs, and computer logs suggests that someone has been monitoring their lives for years. This something is not a random lunatic, but a very particular individual with some deep-seated reasons for choosing them. Why they are connected is revealed gradually – they were not completely strangers to one another.
Throughout the film’s unsettling plot and a myriad of turns, the audience is introduced to the underlying concepts of obsession, control, and dehumanization. A bleak resolution in the final act—which is morally ambiguous—forces viewers to answer questions about the intention of the perpetrator, and the concepts of identity, bodily autonomy becomes more complicated.
Cast and Performances
Marina Gatell as Sara
As Sara, Gatell captures raw emotional distress and performs an adequately terrorized character who transforms into a far more insightful and resilient individual. She captures the psychological effects of the situation surrounding her—anger, despair, and then eerily accepting. Her interactions with Pablo Derqui are paramount to the film, due to their characters’ developing relationship serving as the film’s emotional heart and conflict.
Pablo Derqui as David
Derqui’s David is the archetype of the character who swings from volatile to tender, confused, and guarded. His trauma-discovery balancing act is especially evocative. Alongside Gatell, the actors have to sustain an intimate rendition of the performance while remaining glued to each other for almost the entirety of the film.
Direction and Cinematography
Director: Mar Targarona
Targarona (The Photographer of Mauthausen) displays surprising skill with her shift in genres from historical drama to psychological thriller. She is able to employ a breathless pace while keeping a tight focus on the narrative, and tension-filled atmosphere. This culminates in a single room setting, challenging the audience to engage with the characters’ emotional arc instead of action.
The sparse setting heightens tension by forcing the audience to pay attention to body language, expressions, and even minute changes in dialogue. It, however, enhances feelings of isolation and powerlessness. Targarona treats the deeply disturbing subject matter with a smooth hand that does not let the story enter an exploitative realm.
Cinematography: Marc Miró
Miró’s cinematography amplifies the film’s psychological impact with harsh lighting and close-up framing. The film is mostly shot in medium close-up, emphasizing the character’s reactions both physical and emotional. The camera does not provide relief or respite, reinforcing the feeling of being trapped. Every element of the sparse set offers a potential insight into the narrative, transforming each object into a possible clue.
Themes and Analysis
Bodily Autonomy and Violation
The film’s premise, two strangers grotesquely and forcefully interlinked together, is undeniably the most disturbing element. This infringement of bodily autonomy becomes a metaphor of control and abuse. A reflection that is relentless in asking what does it mean to control a body and what does it entail when that control is stripped away. The notion of surgically attaching two individuals is terrifying, not only physically but existentially, fundamentally questioning the idea of self.
Isolation and Human Connection
Alongside its gruesome narrative, Two seeks to explore the notion of human connection. Meeting as strangers, Sara and David are forced into radical intimacy. They have to adapt and learn to talk to one another, then move on to learning to trust. The scenario becomes a distorted benchmark for empathy and collaboration. Their emotional transformation, while extreme, reflects the way trauma can form unusual alliances.
Obsession And Control
The true antagonist of Two, instead of a caricature of evil, is a person driven by obsessive logic. This character’s obsession completely clouds their judgment as they pour over the film, constantly trying to piece together elements and desperately making sense of things. Their presence is all-encompassing as viewers watch. It invites them to consider the nature of obsession and how it can spiral into something terrifying even when masked in rationality or love.
Existential Dread And Identity
Identity plays a crucial role within the film. What forms the essence of an individual? Is it their memories? Their relationships? Their physical attributes? In attempting to merge two characters into one, the film creates a disturbing metaphor for codependency and forced unity that dismisses the nurturing aspect of love while inflicting questions regarding dependency and control.
Reception And Critique
Critically, Two is a film that drew mixed reactions to audiences, but was met with intrigue from both. The controversy stemmed from the originality of the film, the performances, and the concept as a whole. Critics did commend the boldness of the film, but also mention that it could have explored its ideas more deeply. As with any other piece of art, the film’s slow pacing and confined setting might be challenging for viewers expecting a more explosive thriller.
Keeping a runtime of a little less than 75 minutes, the film’s pacing is tight which some celebrated for its focus, while others for its intensity. Other critics believe the lack of backstory, minimal exposition, and missing cutscenes left certain plot points unresolved or underdeveloped.
On IMDb, Two has a rating in the mid 5 to low 6 (data not available) which suggests a lack of consensus among the viewers. Some were fascinated by the disturbing storyline and unsparing performances, while others thought the premise too disturbing or the execution too sparse.
Final Thoughts
Two (2021) takes an unblinking look at the psychological thriller genre by wading through the depths of human control, identity, and relation, placing these themes front and center. The strong performances from Marina Gatell and Pablo Derqui, alongside bold direction from Mar Targarona make for a haunting film that resonates on a deeper level.
While the film may not appeal to a broader audience, Two achieves its intended objective: discomfort, provocation, and unfiltered self-reflection. The film offers a harrowing experience dense with psychological intensity and existential horror, absented of action and spectacle. For those intrigued by minimalist narratives, moral conundrums, and dark human psychology wrapped in a bow, Two is a piece that persistently haunts the viewer long after the credits role.
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