1.

The story does not specify the exact time and background, but it appears to be set in
a world reminiscent of the 20th century, with old-fashioned electronic devices scattered
throughout. The protagonist's private life is portrayed as empty, evident from the stark
interior of his small apartment. The only person close to him is his ailing mother, with
whom he shares little interaction during his visits to her nursing home. The financial
strain of supporting his mother increases as the cost of her stay rises. Despite his
interest in a girl living in the neighboring apartment, Simon struggles to gather the
courage to approach Hannah (Mia Wasikowska), who coincidentally works at the same
agency as him. Simon's frustration with his stagnant environment is palpable, yet he
responds passively to the challenges he faces each day. Despite his feeble attempts to
connect with Hannah, she remains seemingly out of reach.

2.I identify this movie as surreal due to its resemblance to other surreal artworks: a thick
fog, a sense of semi-nostalgia and unease, and an inexplicable otherworldly quality.
These elements are predominantly conveyed in the film through its color scheme,
featuring yellows, browns, beiges, and various murky hues.

3. It establishes an atmosphere of uneasiness and maintains it throughout by

incorporating simple and subtle details. For instance, Jesse Eisenberg's oversized
wardrobe adds to his character's innate, sociopathic creepiness, a quality that Zack
Snyder would later attempt to capture but fail. The production design is truly impressive,
blending boxy and unspecified futurism with consciously retro elements, resulting in a
disorienting yet carefully surreal world. Additionally, the lighting techniques used in
various scenes are beautifully executed, employing sharp and contrasting schemes to
create maximum visual impact. On the other hand, Mia Wasikowska's character in The
Double employs vintage-inspired clothing and a bobbed hairstyle, reminiscent of a
previous era.

4. Each prop utilized in the movie appears to have been intentionally crafted to inflict
torment upon him. The individuals who populate his life either fail to acknowledge his
presence or, if they do, harbor an intense dislike for him without any discernible cause.
The movie commences with Jesse Eisenberg positioned within an empty subway car, its
interior adorned in shades of gray and yellow, while a sickly light seeps through the
windows. In a swift sequence of events, an unidentified and aggressive individual
informs Eisenberg's character that the seat he occupies rightfully belongs to him,
despite the fact that they are the only two individuals present in the car. Another
instance occurs at the start of the film, where Simon James misplaces his briefcase on
the train, containing his work identification badge. Although the porter encounters him
on a daily basis and is aware of his identity, Simon is now compelled to complete a
visitor's form each morning in order to gain entry to his own office. This occurrence
merely marks the initial stage of Simon's gradual descent into a state of identity loss, a
descent that rapidly accelerates from the moment James Simon unexpectedly enters
the workplace.

5. The Double is set in a world that is not quite reality, but it still feels realistic. In the
film, Jesse Eisenberg portrays Simon James, a timid and unassuming young man who
is so insignificant that his boss, played by Wallace Shawn, doesn't even recognize him
despite his years of service. Simon has a crush on his co-worker Hannah, played by
Mia Wasikowska, and frequently visits her to make copies, even though he could easily
do it himself. One day, a new employee named James Simon (also played by
Eisenberg) arrives, who happens to be Simon's exact double. However, James is so
unremarkable that his colleagues either don't notice or don't care about the
resemblance. James Simon is the opposite of Simon James in many ways. He is
outgoing, charming, confident, and aggressive, and quickly becomes popular with
everyone at the workplace. Although Simon initially resents his doppelganger, they
eventually develop a complex relationship where Simon does all of James' work in
exchange for James helping him win over Hannah. However, things take a dark turn
when James reveals his true nature as a manipulative individual.

6. The film's aesthetic is both visually stunning and sonically captivating. The use of
warm lighting creates a striking contrast within the stark interiors, empty bedrooms, and
small office spaces. The incorporation of layered sound effects adds depth to the
scenes, effectively eliciting genuine scares and laughs. From a visual standpoint, the
film skillfully incorporates numerous references, evoking the Ministry of Truth from
Orwell's 1984, the typist in the violet hour from Eliot's The Waste Land, and a
Chandleresque noir sensibility. It also showcases elements reminiscent of Fellini's
baroque chiaroscuro, Welles' artistic style, and the surrealism of Aki Kaurismäki and
Roy Andersson, all of whom Ayoade acknowledges as influences. Despite the potential
for overwhelming the audience with such a rich visual tapestry, Ayoade demonstrates
remarkable restraint in his storytelling. Rather than forcefully emphasizing themes of
erasure and doubling, the film offers subtle glimpses, such as a blurred face, mirrored
text, or a torn-up print of an unseen girl's face. This delicate balance showcases
Ayoade's exceptional narrative skills, resulting in a sublimely well-judged cinematic
experience.

7. The spaces depicted in The Double exhibit a distinct sense of modernity. For
instance, Simon's office utilizes computer technology to process data, showcasing the
contemporary nature of the setting. However, this same technology is paradoxically
outdated and cumbersome. The computers appear antiquated, and the machines
operate at a sluggish pace. Consequently, our perception of time and space becomes
disrupted, as the film implies that the events portrayed in The Double could occur
anywhere and yet nowhere simultaneously. The doubling of Simon serves to highlight
the horrors of modernity to some extent. Machines exert control over the characters in
the film, providing them with a sense of purpose. However, the archaic technology also
impedes their ability to establish meaningful connections with other individuals. The film
derives its humor from the horror of this predicament. James's intrusion into Simon's life
demonstrates how insignificance prevails in this reality, where a callous attitude can
triumph over a humble one. Nevertheless, this existence is not a nightmarish scenario;
rather, the film asserts that it is simply a depiction of "reality." Consequently, the film
adopts a muted tone, despite the presence of larger melodramatic themes and scenes.
Additionally, we briefly explored the introduction of James into the narrative and how it
compares to other films featuring a doppelganger. In The Double, James initially
appears in fleeting shots, swiftly passing by Simon on his way home. The rapid editing
provides mere glimpses of James before his formal introduction at Simon's workplace
the following day. This entrance bears similarities to the introduction of the double in
Black Swan, where sounds on the soundtrack signify the arrival of the doppelganger.
Both instances occur in confined, claustrophobic spaces, where distinguishing between
sound and image becomes challenging. These visual elements further contribute to the
double's portrayal as a harbinger of malevolence, poised to jeopardize the well-being of
the main protagonist.