Despite having been made on modest means (and produced by Adele Romanski, the patron saint of “Moonlight,” among others), “Gemini” is every bit as elegant and stylish as French director Olivier Assayas’ last two movies, “Clouds of Sils Maria” and “Personal Shopper” - and could conceivably do similar business. A few years back, indie director Aaron Katz moved to Los Angeles from Portland, Ore., synthesizing his impressions into the gleaming blue sapphire that is “Gemini,” a subtle, sophisticated neo-noir focused on the odd co-dependent relationship between a starlet and her personal assistant - and how that dynamic is tested when one of them drops dead.Īlthough Katz unveiled “Gemini” at South by Southwest (the same film festival that effectively “discovered” him 11 years earlier with “Dance Party, USA”), this sleek and playful identity puzzler would have been right at home at Sundance (which screened his last, the Iceland-set “Land Ho!”) - or Cannes, for that matter. There’s an old saying that goes, “Nobody comes from Los Angeles.” Rather, the city is made up of millions of displaced souls who’ve found their way to Los Angeles from someplace else, which goes a long way to explain why no two filmmakers seem to view the city in the same way - because everyone, in some way, is an outsider there.
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