There’s poetry in his films, far more than one’s accustomed to finding in mainstream American cinema, but this poetry is often corralled to serve a pat purpose. One senses Villeneuve’s consciousness of this constraining tendency and his eagerness to break free of it, such as in Enemy, which strives to be free-wheeling and hallucinatory, achieving these qualities only in fussy dribs and drabs. It’s logical in this context, then, that Villeneuve would make a film featuring an artist-type and a rationalist, as they embody the dueling tendencies of his sensibility.