The double and Bradley seem involved in a delicate dance, a chess game so to speak. As in Fassbinder’s film Despair, Bradley seems seduced by the mirror, but frightened that his rival might be more potent or ready to replace him; that why Dirk Bogarde must kill his duplicate in Despair. The scratchy video of suicide-victim Ian Curtis betrays the displaced romantic wish fulfillment for Bradley, or the double, to die like Curtis and finish the game. 

In the end, we gain insight into the construction of the bogeymen and phantoms who roam the interior of the young white  male psyche. The current fashion for synth-bands in New York like Spandau Ballet may be tired, but Bradley’s combination of Joy Division and his own occult-influenced streak of identity politics makes on interested to see his next move.