“Effectively builds suspense right up until its climax”

Superposition gets its title from a quantum mechanics term referring to things being positioned on top of each other— a fitting name for a film that explores the idea of overlapping realities. Most accurately described as a drama that draws on elements of both sci-fi and thrillers rather than being a true genre film, Karoline Lyngbye’s directorial debut centers on a family that seeks connection through isolation. Feeling the need to become more in touch with the natural world, Stine (Marie Bach Hansen) and podcaster Teit (Mikkel Følsgard) decide to live off the grid for a year along with their young son Nemo (Mihlo Olsen). However, the couple are far too self-absorbed, focused on their work and their relationship issues instead of paying much attention to Nemo, whose presence comes off as an annoyance to them. This changes when Nemo begins acting strangely after disappearing in the woods, causing his parents to be alarmed by his unusual behaviour— leading them to the realization that they might not be the only ones out there after all.

What is most refreshing about Superposition is how it establishes the concept of doppelgängers and does so in a way that still feels grounded within the reality of its world rather than veering too far off course into science fiction territory. While the characters discuss the bizarre circumstances of their situation, positing various theories about why they may have encountered their alternate selves, the film never offers a concrete explanation for this. Instead, it leaves things to be accepted for what they are rather than attempt to devise some kind of convoluted explanation. Even a key reveal in the film’s final moments is left up to interpretation rather than actually addressed.

Many of the film’s most emotional moments come during the interactions between the “real” Stine and Teit and their doppelgängers, who they fear at first but later come to feel a sense of identification with. In one scene, Stine and her double talk and drink wine before mimicking each other’s movements. However, unlike their first meeting, the two are able to mirror one another without a pane of glass separating them. Teit also has a similar moment of emotional connection with his doppelgänger, although his is a little more physical in nature. Given the fact that the actors are playing opposite themselves, the scenes where their characters interact with these doubles are especially notable because of how organic they feel. It is also interesting to watch the different versions of Stine interact with the different versions of Teit, and vice versa, since this adds yet another layer to the complex dynamics that are at play here.

All three actors give strong performances—Olsen does a remarkable job, especially for a debut child actor—while Hansen and Følsgard prove they are more than capable of taking on dual roles. Even though Stine and Teit’s doubles are identical to them in appearance, they make themselves distinct through the way they act. This establishes them as individuals rather than exact copies, with subtleties that allow both the audience and characters to distinguish between them. The cinematography adds a layer of intrigue that plays with the concept of doubling, often doing so through mirroring images. This visual duality is creatively foreshadowed early on in the film, from the use of literal mirrors in a studio to the film’s opening shot of a reflection on a lake. And while the film takes a little while to get going, it effectively builds suspense right up until its climax, at which point a real sense of tension and urgency can be felt. In a world where people are often so reliant on connecting with others, Superposition is well worth the watch, as it encourages viewers to take a step back and also consider the value of connecting with oneself.

Director: Karoline Lyngbye

Producer: Amalie Lyngbo Quist

Cast: Marie Bach Hansen, Mikkel Følsgard, Mihlo Olsen

Release date: January 2