Friendship, Existentialism and The Sims Overtake the 2025 Chicago Critics Film Fest

Chasing lights shone bright around the marquee of the historic Music Box Theater, announcing the 12th annual Chicago Critics Film Festival. 

From May 2-8, the festival, run by the Chicago Film Critics Association, highlighted more than 20 feature and short films, ranging from gut-busting comedies and tear-jerking dramas to seat-gripping thrillers.

The Duality of “Twinless”

To a completely sold-out audience, writer, director and lead actor James Sweeney presented “Twinless,” a black comedy about two men who form a special friendship after meeting in a bereavement group for those whose twins have died.  

Dylan O’Brien plays dual roles as twins Roman and Rocky. While O’Brien’s (“Teen Wolf,” “Maze Runner”) performance as the grieving Roman is the film’s cornerstone, his portrayal of Rocky, a gay man, comes off as stereotypical with overly flamboyant and effeminate mannerisms.

Although Sweeney (“Straight Up”) gives a bold performance as Dennis — a socially awkward man yearning for a boyfriend — his true talent lies behind the camera, balancing witty jokes, emotionally rich dialogue and complex filmmaking techniques — all within the same movie.

Dressed as player characters from the video game series “The Sims,” Roman and Dennis attend a Halloween party where the screen splits into two halves. The divided screen simultaneously tracks their individual experiences before seamlessly merging back together at the scene’s climactic end. While romantic jealousy grows on one side of the screen, sexual tension builds on the other.

Making sure to toe the line between cheesiness and salaciousness, Roman and Dennis’s relationship evolves in a believable, realistic way. Their chemistry transcends the screen, as the two appeared together at a post-screening Q&A.

“You can never predict a working chemistry, a creative chemistry, a friendship of chemistry, you know?” O’Brien said. “It was a really impactful special experience for both of us.”

“Twinless” is scheduled to be released Sept. 5.

Why can’t it be a “Happyend”?

In a near-future Japanese society, the threat of an impending mega-earthquake looms over five high schoolers during a shaky time in their lives — the last semester of their senior year. 

Two of the seniors — childhood best friends Yuta and Kou — struggle to adapt to each other’s increasingly divergent post-grad aspirations. While Kou works hard for a scholarship, Yuta wants to maintain his hedonistic lifestyle as a DJ.

After Yuta and Kou pull a prank on their authoritarian principal, the school implements a hyper-pervasive security system called Panopty, modeled after the infamous panopticon, to curb misbehaviour among students. In the school’s courtyard, a large screen displays footage of infractionary students, inciting further outrage.

“Happyend” critiques the nationalistic sentiment present in contemporary Japan by heightening the discrimination against non-Japanese immigrants in the film. The school administration and Panopty mainly target the Zainichis, a minority group of ethnic Koreans with permanent residence in Japan, which includes Kou.

Reminiscent of Alfonso Cuarón’s “Roma,” political instability and social uprising slowly bubble in the background until it completely overflows. Writer and director Neo Sora achieves this through blunt— yet non-preachy — dialogue.

“I don’t want to be so upset all the time, but I get so angry when I see injustice everywhere,” Prayer Kirarafumi —  a fellow student and outspoken critic of Japanese nationalism — said.

Accented by its subtly heartfelt and politically charged screenplay, “Happyend” is a film about growing up and growing apart in an increasingly hostile environment.

“Happyend” is scheduled for an American release June 20.

Oh, “It Ends”!

The hum of a car engine constantly underscores the existential hangout movie “It Ends.” In his debut film, writer, director and editor Alexander Ullom crafts an unmatched Generation Z take on finding purpose in one’s life and eternity.  

When they miss a turn on a road trip, four friends find themselves on a seemingly never-ending road. Unable to sleep or stop, the recent college graduates reflect on their past, the perpetual present and an uncertain future. 

After peeling away the layers of psychological horror and existentialism, “It Ends” reveals a story about teen friendship. Their connection is tested — and strengthened — not through the eternal road trip but by the little things teenagers may take for granted, like party games, new clothes and brain-rotted memes. 

“I think that there is a level of, like, ironic, or you know like, post-terrifying structure collapsing detachment that is going on,” Ullom explained during a post-movie Q&A. “It’s a direct response to something that we actually feel very, very deeply but not really, because that’s why I’m, like, posting memes and shit.”

Although “It Ends” largely takes place inside a car, over its one and a half hour runtime, varying camera angles and frantic shots — paired with a one-of-a-kind Gen Z perspective — drive the film, ensuring the viewer stays engaged. 

“It Ends” is yet to receive a widespread release date.

Merry Christmas from “The Baltimorons”

Written and directed by Jay Duplass — his first solo movie production in 14 years — “The Baltimorons” centers around Cliff Cashen (Michael Strassner), an ex-improv comedian and recovering alcoholic requiring emergency dental surgery on Christmas Eve. After a series of misfortunes, Cliff and his dentist, the cold Didi Dahl (Liz Larsen), embark on a wild goose chase around Baltimore.  

The film effectively delves into deeper topics like sobriety, depression, and suicide, while maintaining a comedic disposition. 

While its name might not make it apparent, “The Baltimorons” is a love letter to the Maryland city, with various references to staples like blue shell crab, 34th Street Christmas displays and the Ravens football team. 

During a post-movie Q&A, Duplass explained the choice to film in Charm City.

“The permit to shoot the entire movie on the streets of Baltimore was just $45,” Duplass said. “And when Michael told me that, I was like, ‘Let’s go.’”

Strassner and Larsen’s on-screen chemistry, as the two lovingly annoy one another, is the heart of the film, with Strassner’s boisterous comedic performance being a highlight of the movie.

“The Baltimorons” is yet to receive a widespread release date.