“This simple reversal disturbs the very function of a stunt double: now, instead of being replaceable, the double is irreplaceable—without them there is no star to play. But there are precious few stunts in the film—the trick to spot is in the final scene where the real Nauta holds up a mirror to the protagonist playing her, and they stand in a peaceful face off. Instead of a Lacanian ego formation taking place, we find the protagonist has been replaced by her original, in a kind of parafictional twist of fate.” Excerpt from an essay on Bernice Nauta by Rosie Haward