Harris is dynamic, turning in work that’s filled with depth and dimension. Ali and Harris have impeccable chemistry, making us feel the profundity and stakes of their romantic relationship. Spinning a winning, delicate love story would be almost impossible if not for the performances of the leads. Though his resentment has a slow-burning build, Cameron’s paranoia of his clone Jack lasts all of one scene, essentially included to provide the impetus for the gut-wrenching goodbyes. Since seizures are uncontrollable, it stretches credulity that no one close to Cameron has ever witnessed an episode. Still, there are a few slightly discordant pieces that could’ve used some smoothing. The “out of body” surrealist motif subtly threaded throughout the film’s fabric, from the sketches Cameron draws of a man floating in different spaces to his actual memory transference, is palpable and entrancing. The filmmakers lean into evolving emotional tones gracefully without being overly maudlin or saccharine. The narrative engages meaningfully with Cameron’s internal and external conflicts, as well as thematic ties to identity, personality and morality. While replacing himself for his wife’s benefit may seem duplicitous on the protagonist’s part, the film makes it clear this spares her not only the burden of grief, but also the burden of keeping the clone a secret. As the memories of his love and discord with Poppy surface, they bring up latent emotions and doubts.Ĭleary and editor Nathan Nugent establish a visceral energy, efficiency and economy of time through quick-cutting montages that speak to the deep throes of love and loss that have affected this couple’s journey. He also befriends another ailing patient, Kate (Awkwafina), who lightly mentors him through the tough transition. Days are spent examining every minute facet of his memories, from his sweet meet-cute with Poppy on a train to their marital strife, both being affected by the death of her twin brother Andre (Nyasha Hatendi). His reticence quickly fades after another seizure occurs, sending him on a week-long interlink “retreat” at the company’s remote, rain-drenched forest facility. Increasing the pressure are not only the ticking time bomb in his head, but also the fact that Poppy’s pregnant, making this the optimal time for a switch. Cameron and Jack must spend some time together, to make sure that Cameron’s personality has successfully copied across before Jack leaves the compound, has his memory wiped and lives the rest of his life believing himself to be the original Cameron - who will die at the facility.Though Cameron initially pursues the body-swap idea, he suffers a crisis of conscience, not knowing if deceiving his wife and his cute-as-a-button young son (Dax Rey) is the right way to preserve their family unit. Desperate to save them from the heartache of his death, Cameron visits the isolated compound of pioneering cloning scientist Dr Scott ( Glenn Close), who creates a perfect, healthy version of Cameron (whom they name Jack, also played by Ali). Or so hopes graphic designer Cameron (Ali), who is hiding his terminal-illness diagnosis from his wife Poppy ( Naomie Harris) and young son. Featuring a superb dual performance by Mahershala Ali, Swan Song effectively balances science-fiction sentiments and distinctly human sentimentality to deliver an engaging study of what it truly means to be flesh and blood in a near-future world where those things can be synthesised to seamless perfection. Contemplating big questions of mortality, identity and loyalty, Irish director Benjamin Cleary’s feature debut has sensitivity and style to match its sweeping narrative ambition.