Zoë Kravitz in Gemini (NEON)

Everything about Gemini is cool, from its steely blue, neon color palette to the jazzy-noir-synth-pop soundtrack. The camera glides around urban Los Angeles, tracking fancy cars, nice meals, and beautiful people. The character’s houses are enormous, white, and sterile. It’s stylish and cold. Though the movie doesn’t break the molds of cinema, or redefine a genre, it’s solidly made, full of tense moments, and has a controversial twist that, while it won’t be spoiled here, works for the film’s benefit.

The story line follows the friendship of famous actress Heather Anderson (Zoë Kravitz) and her assistant, Jill LeBeau (Lola Kirke). Heather’s going through a rough breakup and feels groundless and emotional. Jill, though, is organized, neat, and grounded. She coordinates everything for Heather and even braves the screams and insults of Hollywood agents, directors, and producers so Heather doesn’t have to endure them.

What’s admirable about the film is that the characters don’t spend much time talking about how they wish to be more or better. They talk to each other like friends. Kravitz and Kirke have a strong complementary chemistry. It’s as if we’re watching two best friends go about their day. It’s also refreshing to see a friendship between two women not undermined by men, vanity, competition, or any of the other usual tropes. They’re friends that love each other. It’s an endearing note that starts the movie off strongly.

One night after drinking and some partying, Jill and Heather end up back at Heather’s place. At this point, Heather has asked for Jill’s gun, because Heather feels unsafe. Indeed, spooky things have been happening all night—random camera flashes from an unseen photographer, confrontations with paparazzi, and a strange fan at a restaurant who wouldn’t leave Heather alone.

The next morning, Jill returns to Heather’s home, only to find her dead. The bulk of the film is spent following Jill, who is the chief suspect of the murder, trying to piece together what happened. She visits all her possible suspects, only to find out that while Heather has made plenty of enemies, no one was angry enough to kill her—a refreshing change of pace from standard whodunit films, in which the motive is some flimsy excuse, propped up by cheap pscyhobabble. Kirke admirably brings a level of humanity to what could have been a fairly flat, predictable character. Viewers see Jill morph into a ruthless detective, because she loves her friend—and doesn’t want to be jailed for a murder she didn’t commit.

This strikingly constructed film is worth seeing in theaters. Its melding of style, sound, and a surprise ending makes for a thrilling experience.