Gemini, the latest work by American indie auteur Aaron Katz adds a new chapter to the off-beat, understated study of the millennial experience that extends across his five feature films to date. A Hollywood tale that sharply questions celebrity and its discontents, Gemini subtly bends genre conventions to transform a darkly comic portrait of a petulant actress and her overworked assistant into a taut murder mystery punctuated by the wry humor and crisp dialogue that are important signatures of Katz’s cinema. Gemini is best understood, however, as a delayed response of sorts to Katz’s inventive slacker detective film Cold Weather and an ambitious deepening of the post-genre territory explored in that earlier work. Indeed, the two films are richly complementary, not only for the unexpected disappearances that destabilize their narratives, but also for their nuanced exploration of intimacy as itself an enigma. While Cold Weather uses the thawing relationship between reunited siblings to subtly counterpoint its investigative story, Gemini takes the strange bond of “professional friendship” between actress and assistant to pointedly question trust and identity in the Facebook age. At the core of both films is the figure of the accidental yet intrepid detective—the deadbeat graduate student turned sleuth in Cold Weather, the personal assistant turned fugitive private eye in Gemini—whose search through clues, red herrings and cagey suspects ultimately turns back upon itself and toward a kind of self-revelation.