bars and homes collecting clues and trying to evade the detective. There also isn’t much urgency or tension created as she bops around between fancy L.A. Kirke is always watchable and a good presence on screen, but so much about Gemini is so contrived that here she looks a little lost in the story at times. in a silly disguise and bad blonde wig (which I believe we’re supposed to think is her hair) to try to prove her own innocence. The detective, Edward (John Cho), who speaks only in folksy vagaries, thinks Jill did it, so naturally Jill goes on the run across L.A.
In shock, Jill starts calling Heather’s friends to tell them she’s dead. In the morning, Jill leaves to do another meeting on Heather’s behalf and returns to Heather’s home to find the gun out and a dead body on the ground.
It’s much more dramatic and odd, I guess, to ask your assistant for her gun and then go get drunk with her and your secret (pop star?) girlfriend, Tracy (Greta Lee) at a Neon-soaked club and drive home to your empty house and continue telling your assistant that you’re scared but not do anything about it beyond that. This is a mystery this film is not interested in solving. But for someone who appears to be extremely wealthy and well-known who is scared all the time and has just had two people express their desire to kill her, it’s unclear why she wouldn’t at this point just hire some personal security or even, say call the police. She has at least one Instagram superfan and there’s that one paparazzi. Her presence is enough to get a movie made, and her absence is enough for it to be called off. We don’t get much context about how famous Heather is. And a grade-A creep of a fan lingers a little longer than anyone is comfortable with. Pretty shortly after they get another call from her agent who also threatens to kill Heather for what she’s done. She’s going to make Jill do it.Īnd like a good, underpaid assistant, Jill tells Greg that the deal is off, which he takes poorly and leaves. Only she’s not actually going to break the news to the director, Greg (Nelson Franklin). Her mind is elsewhere, namely on the project she’s about to bail on. Heather arrives shortly after, wonders who it was and kind of rolls her eyes when the message is relayed. We meet Jill fielding a phone call from Heather’s aggrieved recent ex-boyfriend Devin, who casually threatens to kill Heather for what she’s done to him.
She and her assistant Jill LeBeau (Lola Kirke) may as well be in their own little world, connected to the outside through cell phones and text messages and one stray paparazzi, Stan (James Ransone), who follows them around. We never see her acting, just sort of existing in the moody milieu of L.A.’s middle section, the 1920s-style apartment buildings and strip mall parking lots of Koreatown and the tonier hills to the north. Heather Anderson is the name of the starlet/actress/whatever in question played with otherworldly coolness by the otherworldly cool Zoe Kravitz. Glum and meandering, the Los Angeles-set mystery about a Hollywood starlet and her assistant starts off promising enough but trudges along aimlessly to a deeply silly and maddening end. Writer-director Aaron Katz’s Gemini is a very stylishly executed and well-cast attempt at a Lynchian neo-noir that doesn’t really work.
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