Shot immediately before Prisoners but released subsequently (hence the Canadian backdrop; Villeneuve’s last to date), Enemy once again sees Villeneuve working alongside Jake Gyllenhaal. And then again, as Gyllenhaal’s college history professor’s world becomes entangled in that of a small time actor, who just so happens to be his apparent doppelgänger.
A step up to outright mindfuck compared to Villeneuve’s other films, the strange manner in which he twists and merges events remains an intriguing guessing game throughout, as does the exploration of multiple themes left completely open to audience analysis and interpretation. Gyllenhaal excels as a character forced to look inward as a means of escaping from himself, all while the audience is kept on its toes by seemingly inexplicable symbolism that certainly does its job of making the skin crawl. Breathless in terms of both content and run length, Enemy is Villeneuve at this most psychologically chilling.