Directed by Finnish filmmaker Taneli Mustonen, “ The Twin” is a cerebral horror film that tells the story of Rachel and her family trying to cope with the grief of having lost her youthful son Nathan in an auto accident. Watching “ The Twin” is a veritably mixed experience, as it holds some interest in the first many twinkles but also snappily starts falling into pieces as a poorly made, predictable film with nothing serious in it. With uncompelling performances and hardly any character progression, it's stylish to stay down from this horror.
‘The Twin’ Plot Summary
Rachel and her hubby Anthony have a terrible auto accident while living in the USA, and although the two grown-ups escape unharmed, the crash kills their youthful son Nathan. Struck by tremendous grief, they decide to leave the country with their other binary son, Elliot, and settle in a pastoral city in Finland, where Anthony has family roots. The unforeseen death of his binary family has impacted Elliot relatively poorly, as the youthful boy still struggles to understand what death and the following absence mean. The death has mentally impacted Rachel roughly too, as the woman is now exorbitantly defensive of her son and is struck by fear every time he goes out of her sight. The family moves into their new house, which used to be a rectory before, and it still has photos from the time, one of which is a print of a youthful boy in a pall, which dislocations Rachel a lot. The grieving mama still has agonies nearly every night where she sees herself crowded by townies and Elliot laid out inside a pall. After choosing his room, Elliot had asked his parents to set up an identical bed intended for Nathan beside his own in his room, and he'd also requested to keep a rustic maze toy that had belonged to Nathan with him. After settling in, the family made a small remembrance sanctum for Nathan in their yard, and Elliot now buries the toy in front of it, in memory of his late family. Many days pass and Anthony takes his woman and son around his nonage city and shows them a spot where neolithic red spots on jewels feel like handprints. Anthony tells them that the original legend believes that anybody who puts their hand on this gemstone and wishes for the commodity has their want granted, and youthful Elliot does so. Latterly, they go to a drinking party organized for them by the neighbors, who feel interested in Rachel but are not veritably warm to open up to her as she doesn't speak the original language. An odd-looking Englishwoman makes familiar with Rachel, tries to tell her of the significance of dreams, and veritably mysteriously claims that her son had asked for a commodity and that it has arrived. She also insists that she isn't crazy or eccentric as everyone around her might claim, ahead snappily going down as Anthony and some townies arrive on the scene. That day, during a swing form organized for the couple, Rachel sees Elliot going down nearly and seems to deliver him from some peril, with dirt and marks on his face and clothes. Soon enough, Elliot starts to claim that he's not Elliot but Nathan and that Elliot is now gone.
What Has Taken Over Elliot?
Rachel reports her son’s strange expressions to her hubby, but Anthony doesn't pay any heed to her words and seems to be relatively distant from his family. She notices her son’s get changing towards unresistant- aggressiveness over the coming many days and finds him drawing images of his family getting burnt to death. Meanwhile, her agonies continue towards further minatory forms, as she now dreams of seeing Elliot at the frontal gate of their property, who also turns into commodity monstrous when she approaches him. She makes Anthony take her and Elliot to a psychologist as well, but the croaker’s words don't help her but outrage her further as he suggests she be calm. Not chancing anywhere differently to turn to, Rachel goes over to the Englishwoman’s house, who had given her number and had introduced herself as Helen. Helen now reveals to Rachel that the vill they're living in is inhabited by followers of some satanic cult, and they try to lead people towards the devil as immolation, conceivably to keep him pleased and keep themselves safe. She shows her filmland of how everything in the vill is designed in indirect patterns and how it all leads to the sacrificial gemstone. Her hubby, too, had been offered to the devil by the townies, and now she suggests that the same is being done to Rachel’s son and that it's the devil that's trying to take possession of Elliot and wanting to make Rachel its mama. Helen shows Rachel a snap of her hubby in which everyone looked clear, piecemeal from the man, whose face was constitutionally vague, suggesting that the demon had taken possession of him by also. Rachel, who used to be a professional shooter at one point in her life, decides to try the same with Elliot and photos him on the swing, important to the boy’s annoyance, and submits the film roll to the near city to get it developed.
She returns to find Elliot still angry at his mama for having mugged him, and she also finds the boy to have dug up his late family’s toy mystification. Inversely spooked and angry, Rachel takes down the toy and burns it at her fireplace. That night, she's woken up by Elliot’s whispers, who asks her to follow him as Nathan wants to have a word with her. Alarmed, Rachel tries to wake her hubby up and turn on the lights, but is told not to do so both times by Elliot. The boy takes his mama down to their delineation room and makes her sit in front of a lit candle and a glass; and claims that Nathan is now with them and relays his dispatches to her. Rachel asks to see her late son and is told to look at Elliot through the glass. She does so and finds that her son is now holding the mystification toy she had before destroyed, and a black hand reaches out to her, making her drop the glass and shatter it. Unexpectedly, now her hubby arrives on the scene along with other townies, and he claims that they only want to take Elliot down from her. Rachel is spooked beyond her head and tries to cover her son, but finds that he's formerly missing from the room. The townies also gather around her, and the croaker, before seen, injects her with some fluid. Rachel wakes up the coming morning to find Elliot and Anthony playing with each other; she thinks last night’s events were another agony, but finds fractured glass in her kitchen tip and also needle pains on her body. The photos arrive that autumn, and in a bewildering turn, all the prints are seen to be of the empty swing, with no trace of Elliot at each in them. The youthful boy, or whatever it's in Elliot’s form, asks to see the filmland, and Rachel vehemently denies it.
She frenetically drives to Helen and asks for her help. The old lady asks her to take her to Elliot, and on the way, explains that she had missed the real point from the veritably morning. Anthony had earlier offered their son Nathan to the devil for his success, and the auto accident was just a ploy of the demon. Anthony had been awarded, too, as his published book came veritably successful, but the demon and the townies acting on its behalf were now empty for further. It wanted the binary family now and was itself trying to bait the boy as it was now in control of his binary heart. At the house, Rachel takes Helen over to Elliot’s room and introduces them, but the old woman strangely leaves the room, calling Rachel crazy and sick. She follows Helen down to the delineation- room, where they're again interdicted by Anthony and the townies. They seize Helen as she tries to pull out her gun, and the croaker again injects Rachel with the fluid.
What Do The Townies Want From Rachel? What Is The Real Verity Behind Elliot?
When Rachel wakes up with a vague vision, she finds herself on the reinforcement of a lake or swash and notices her guillotined head of Helen lying hard among a mound of scapegoat heads. The townies are all dressed in either black or white blankets, and she, too, has been dressed in a white gown and mask with a wreath of flowers on her head. She soon sees Elliot dressed also and lying in a white pall with its lid open, and also Anthony appears on the scene and gashes the boy’s throat with a dagger, covering the entire scene with dark, gushing blood. The blood is also fed to an unconscious Rachel, and some of it's rubbed in a circle on her belly, which incontinently grows as if pregnant with a womb. The townies also chant some conjurations and throw Rachel into the lake.
The coming morning, she wakes up in her bed to the tale from Elliot and finds that her door has been dammed by a president placed in front of it. Her maternal instincts protest in, as she manages to break out and go to the garret, where she finds Elliot trapped inside a box just like on the former night. Now determined that the townies are the bones against Elliot and that they would turn the youthful boy into a monster, Rachel flees the house with the boy, running into the timber behind their property. Anthony notices this too and runs behind them, calling out to Rachel, and the townies follow. The hubby reaches her and legs her to the ground, and a fight ensues, with Rachel eventually on top and about to smash a heavy gemstone on Anthony’s face. But she decides against it, seeing Elliot right in front of them, and Anthony now reveals the shocking verity.
He reveals how there was nothing called Elliot, noway had been, and Rachel had only imagined their binary son after the death of Nathan. The woman had lost her internal stability after the death of their only son, as it was she who had been driving the auto during the accident, and as part of her crooked system to deal with the grief, she had created this whole actuality of Elliot. The hubby had kept this out of the public eye for some time, but soon neighbors interposed and asked her to be taken for some internal health help. She had been kept at an installation for some time, where the croakers would take down the created identity of Elliot from her head, but Anthony didn't want that out of love for her, as he claimed that Elliot was the only thing that kept Rachel happy. He'd taken her out of the installation and moved to Finland, far down from the US, to start a new life. But Rachel’s preoccupation with her imaginary son grew dangerously in this new vill, as she dug up Nathan’s toy, mugged empty swings, and smashed the glass on her head. Unfit to help her alone, he'd asked for the townies’ help, and there had no way been any actuality of a demon or possession.
‘The Twin’ Ending Explained What Does The Scene At The End Mean?
Rachel refuses to believe any of this and follows Elliot into a granary, where Anthony releases grains on the boy to prove that his actuality is only in Rachel’s mind. The mama formerly again tries to cover her son and, in the process, pushes Anthony down from a considerable height. Searching the mound of grain, she realizes that there's nothing of Elliot or any boy, and also notices the fatally injured Anthony. Back in the USA, she lays flowers at the gravesites of Nathan and Anthony, who conceivably failed shortly after, and also enters her auto alone. She sees Anthony and their two sons seated inside the auto and has a hearty family discussion with them before driving down. This last scene obviously suggests the growing vision in Rachel’s mind, who now imagines not only her imaginary son Elliot but also her dead son and hubby.