With so many films in recent years centered around grief and grieving, it seems impossible to believe that a film could find a new angle in approaching the subject. But Twinless feels fresh and original, thanks to the voice of writer-director-star James Sweeney by centering less on the death of a person and more on how a lack of closure can be just as difficult as the death itself. And beyond the film’s thematic weight, it provides excellent acting showcases for both Sweeney and Dylan O’Brien.

Rather than begin with a universal approach, Sweeney takes an incredibly specific gimmick and slowly morphs Twinless to become something more relatable. After all, who would ever have known that support groups for dead twins could conceivably be a real thing? Indeed, this is where we meet our heroes, Roman (O’Brien) and Dennis (Sweeney). Roman just recently lost his twin, Rocky, in a tragic car accident, and the two quickly strike up an unexpected friendship.

Though there is no romantic tension between the two, Dennis is openly gay, as was Rocky. Roman latches onto Dennis not just as a source of kinship but as a sounding board for all of the things left unsaid between him and his deceased brother. In one of the film’s best scenes, Roman lays bare all of his regrets and painful memories. O’Brien’s performance can’t be overstated here, as Roman is initially painted as a kind of simpleton, but he contains unexpected depth once we get to know him better.

Sweeney’s gift with Twinless lies in his ability to balance a variety of conflicting tones. The film is mostly a pitch-black comedy, but includes elements of a deeply humanistic drama with complicated and fully-realized characters. Without spoiling anything, Dennis’s initial painting as a sympathetic character becomes darker and more menacing once some information is revealed about a pre-existing relationship with Rocky.

But Dennis never feels nefarious, although he comes close once Roman strikes up a romance with one of Dennis’s colleagues, Marcie (Aisling Franciosi, also delightful), and his importance in Roman’s life becomes diminished. Rather, he simply sees Roman as an extension of Rocky and everything he thought he had. Part of this is due to Sweeney’s light presence on-screen, and part is thanks to his nuanced screenplay. It’s also possible that Dennis is simply looking for any kind of companionship in his lonely universe. Though it becomes clear where the film is headed once all the cards are placed on the table, Twinless hums from scene to scene and never feels like it’s overstaying its welcome, or feels repetitive. Sweeney’s visual style is another unexpected highlight. When Dennis is seated alone at a diner table, the other side empty, we can envision his missing half is filling the empty seat.

The bond between twins is one which most will never fully understand, but Twinless doesn’t dabble in these easy platitudes. Rather, it sees Roman’s loss as something anyone can relate to. Roman’s once-unbreakable relationship slowly grew apart, and all he’s left with are fleeting memories and deepening remorse. With such keen insight, you’d expect to find out that Sweeney himself has a twin sibling, but the film is mostly an expertly crafted observation on relationships and loneliness. Yes, there are far too many indie dramedies centered around grief, but Twinless stands apart, and it’s an exciting showcase for a number of up-and-coming talents.

Twinless will be in theaters nationwide on September 5.

OSCAR POTENTIAL:

• None, but be prepared for a host of nominations/wins at “smaller” awards bodies like the Gothams and the Indie Spirit Awards.