fOr, for many years, double roles have been played primarily for laughs. Think of Jack and Jill’s Adam Sandler’s Razzy Sweep Twin Turn, or Lisa Kudrow as both friends Phoebe and Ursula Buffay. Eddie Murphy has always been particularly prolific, and his most numerous performances as the clutch of clamps for Professor II of Nuts.

Of course, there are exceptions. But all legends and fame have Austin’s Powers, Bowfinger and – trembling turbit. But this year, we are giving us a more dramatic kind of overlap. Robert De Niro took a double dong job with the Alto Knights, Michael B. Jordan played twin leads in the supernatural sinner, and the pair of Robert Pattinson clones currently finds Bong Jun-ho’s Mickey 17.

And there’s more. Monkey provided horror with Theo James’ two bloody scoops. Zac Efron recently wrapped up an A24 thriller playing both a stalker and a superstar. Recently at Sundance, Dylan O’Brien played twin brothers in the dark comic drama Twinless. So, even if you ignore the genre of the film, it’s a noticeable surge in viewers who still watch the double. So why now? And how do these seemingly impossible shots come true?

“For years, filmmakers have been able to use a variety of techniques to show the actors multiple times in the same scene,” says Daniel Harrington, a London-based VFX artist and compositor. “In the parent’s trap, the split screen allowed the same actor to occupy both sides of the frame, while the social network used motion controls to portray the Winkleboss twins by repeating precise camera movements.”

However, before you tackle the technology, there is a brief history of dual roles. Because the concept is almost as old as the film itself. In 1898, pioneer Georges Méliès had already double-exposed to capture the portrait twice within the same frame. His methods jumped to feature films in 1917 when actor William Farnham performed on opposite sides of himself in Dickens’s two city tales adaptation.

The following year, Mary Pickford played dual roles in Stella Maris using new split screen technology that has been used for decades in films such as Deadlinger, Adaptation, and Double Impact of Jean-Claude Van Dam’s Asquado-Shooded Ask Ask. Altonite, more than a century later, uses similar techniques to double De Niro in a particular scene.

But today, split screening is just one of many tools in the dual-roll toybox. The most notable advance in this field was released in 1989 on the commission of future Part II and Director Robert Zemeckis’ Industrial Light and Magic (ILM) to create a vistaglide and create a motion-controlled camera dolly system for the robot.

This remains the most popular dual-roll method, Harrington says. Several mats (the individual shots that make up the final frame) are filmed with the same actor playing separate parts. This footage is then delivered to the rotoscope and paint artists. Rotoscopes and paint artists task by clearing the edges of the raw mats and then stitching the composite together into one seamless whole.

“Ultimately, the success of the fantasy depends on the synergy between onset preparation and post-production artistry,” says Harrington. “Digital effects can be increasingly refined, but when built on a strong practical foundation, they are still the most effective. Therefore, on set, consistent lighting, accurate framing, and stand-in are important to ensure seamless synthesis later. Without these elements, even the most sophisticated digital tools will struggle to create compelling results. It is teamwork, exemplified not only by films but also by television series such as Orphan Black.”

The small screen certainly earned the rewards for these technological advancements. 2025 will also be your final season, where you can also watch Netflix’s debut Twin Jamie Dornans at Underto and Twin Anna Camp. Malaki Kirby doubles for the Anansi boys on Prime Video, while Cynthia Eribo plays the same sexturette as Leanne Johnson’s poker face returns to Peacock. “And we are not solely responsible for breakthroughs, though [for this increase in dual roles]”Recent developments in AI-driven deepfakes and performance cloning have significantly reduced costs and increased production times,” says Harrington.

This deepfake method of swapping faces (Robert Pattinson’s face was digitally ported to replace Mickey 17) was another ILM gimmick developed for the 1993 Jurassic Park. Oscar-nominated VFX supervisor Theo Jones works at Framestore, a studio that worked on many of Joon-Ho’s latest products. And while Jones doesn’t think there’s a single catalyst for the current moment of a dual-roll project, “it’s probably a kind of happy accident,” he says.

“It wasn’t Option 10, and probably not even five years ago,” says Jones. “But even this is not optimal for dual roles. You will need to find someone with similar features and proportions. Baseline performances will come from the stand-in rather than the actor. What’s more, “Off-the-Peg” deepfake technology certainly doesn’t suit IMAX quality at the moment, so VFX work is necessary to be trusted. ”

The Framestore, revealed by Jones, states that it has developed its own “neural face rendering technology” called Facade. “But for a purely dramatic moment,” he adds. “It would be much better to use practical techniques for filming and post-production modifications to make the finished photos seamless with post-production modifications. This may include rewriting the VFX rulebook, and sometimes using techniques that exist before computers become part of filmmaking.”

It’s a great way to approach the art of dual roles. Because whether it’s an actor attracted to creative challenges or a filmmaker trying to advance the technical aspects of his craft, these twin turns have always been a joint effort. By continuing to blend old and new techniques, viewers will not only guarantee performances that dodge envelopes, but the entire concept of dual roles will remain true to its innate patchwork nature.