7 clues in “IF” that foreshadow the film’s biggest twist

Warning! This article contains spoilers for the movie IF.

IF The surprise ending may have come as a surprise to some, but attentive viewers may have noticed several clues that gave the ending away from the beginning. IF is a story about adolescence and imagination that explores the idea of ​​imaginary friends and where they go when children grow up and don't see them anymore. The film was directed by John Krasinski and stars Ryan Reynolds alongside Cailey Fleming as two people who see imaginary friends and hope to help them find a new home when their children grow up.

While the film explores themes such as the power of imagination and the importance of connecting with one's inner child, it also hides a major twist. Young girl Bea (Fleming) seems to have the rare ability to see other people's imaginary friends, which she shares with a man named Cal (Reynolds). The truth, however, is that Cal was her imaginary friend growing up, and she stopped seeing him after her mother died. This twist changes the way previous elements of the story were presented, with many moments foreshadowing this twist throughout the story.

7 Cal knew Bea when she was younger

At the beginning of the film, when Bea finally manages to get into the apartment with Cal and the other IF characters, she has numerous questions about what is going on. The IFs introduce themselves, but when it's Cal's turn to introduce himself, he just says, “She already knows who I am.” This is quickly skimmed over and no further comment is made on it at this point, but it's a clear indication of the pre-existing relationship between Cal and Bea. This moment also highlights a distance that now exists between Cal and Bea.

Although Bea herself ignores this comment despite her curiosity, it raises questions about how the two know each other. Cal is a middle-aged man who lives above Bea's grandmother, so one might assume they met briefly, but there is no clear reason for them to know each other well. But Cal is clearly attached to him in some way and acts distant and disinterested, which is probably a reaction to being cast out when Bea stopped seeing him.

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6 Cal had failed to place an IF

However, Bea learns that Cal has been trying to help the IFs find new friends. He works tirelessly from the small apartment with a catalog of IFs in need of new homes and occasionally visits the retirement home for IFs. Despite his efforts, Cal has failed to ever place an IF with a new friend. While pairing IFs with new children proves difficult and possibly impossible as the film progresses, Bea is quickly able to effect tangible change.

But the changes she makes are by no means groundbreaking. Bea surveys the IFs to see which matches might be the best fit for them, and then she asks the kids about their hobbies while trying to see if they can imagine themselves in any of the potential IF positions. These ideas are pretty straightforward, but it seems like Cal didn't even get that far because no one can see him as one of the IFs whose kids have outgrown him. Bea's simple ideas are the biggest changes for these IFs in a long time, despite Cal's efforts.

5 Cal used to be a clown

When Bea convinces Cal to let her help with his work, he takes her to the IF retirement home. There she is introduced to a kindly elderly IF named Lewis, a giant teddy bear who is almost 100 years old. Lewis tells Bea that Cal, the uptight and seemingly constantly frustrated man, used to be a clown. This seems to contradict the character in his present, but considering he experienced a traumatic event that changed his outlook on life, it makes sense.

Calvin was Bea's IF, and when she was younger, she tragically lost her mother to a terminal illness. This had a huge impact on the young girl, forcing her to grow up quickly and leave some of her childish behaviors behind. As a result, her imaginary friend, the clown, whose sole purpose was to make her smile, also felt this tremendous loss for his friend, and their bond dissolved. Although this hint is a bit more subtle, it's another moment that raises questions about Cal and his past, and hints at his true identity as an IF.

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4 Cal and Bea have similar quirks

There are also small moments in the film that show striking similarities between Bea and Cal. From their outfits and dialogue to the same way they sit down and smooth the pages of a book, the two have clear common idiosyncrasies. This kind of mirroring is common among people who spend a lot of time together, like friends or family, but with Bea and Cal, it can seem like an odd detail to include.

However, it is another clear indication that the two have more in common than meets the eye. Bea and Cal spent a lot of time together during their formative years, and Cal was born from Bea's imagination, so it's perfectly clear that the two would develop many similarities and behave similarly. From their physical movements to their attitudes and personalities, these elements mimic each other because of this pre-existing connection.

3 Cal doesn't talk to other people

When Cal is first introduced, he is seen sneaking into a young child's room to retrieve a giant IF named Blue. When the child stirs in bed, he quickly hides under the bed, giving the impression that he might get caught, but as the film progresses, his interactions become increasingly bizarre and one-sided. An actor like Ryan Reynolds is incredibly good at playing comedy opposite other characters and when delivering dialogue with responses. His interactions in IF often meet with no reaction.

This is jarring and unusual, as the character continues to talk in every setting but is met with no clear response to his dialogue. However, the fact that he cannot be seen or heard by others makes it clear that this stilted communication was intentional. Even in an office setting, Bea is able to gain access to reception by pretending to have a delivery. However, no one questions or speaks to the man hot on her heels, and scenes where you would expect him to explain his presence are simply skipped.

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2 Cal seems to be a version of Bea's father

One of the most endearing aspects of the film is evident in the interactions between Bea and her father, played by director John Krasinski. Bea's father is currently ill and in the hospital for an operation that could cause complications. However, despite the tense situation and the possibility that Bea could lose her only remaining parent, her father is always cheerful and does everything he can to put a smile on his daughter's face. These persistent attempts to make her happy and prevent her from getting upset are signs of his love and care for her.

Interestingly, it is at this moment, when Bea is afraid of being left alone, that her gift of seeing imaginary friends and her former IF Cal is revealed. Cal may now be someone who seems to lack joy and happiness, but that is a reflection of Bea's own feelings. And interestingly, the version of Cal, a carefree clown who does anything to make Bea smile and be happier, seems to be a reflection of her father. Reynolds and Krasinski look alike, and the connection may be more than just superficial and just from Bea's subconscious imagination.

1 The witch in the hallway

When Bea first tries to visit the mysterious people upstairs, they refuse to let her in. After a moment, an elderly woman enters the hallway from her apartment at the end of the hall. This woman is only seen in shadows and seems to frighten Bea. Then, when Bea is in the room the next day, Cal mentions that neither she nor they want to be outside the room when the witch comes. This raises an interesting question as to why the mysterious figure is there and why they don't want to be outside the room when she arrives.

Later, however, IFas Bea prepares to go home with her father, she runs upstairs early in the morning to meet Cal and the others, and the woman comes out of her apartment. This time she is clearly seen as a simple older woman, and she comes to unlock the apartment belonging to Cal and the IFs. Once inside, Bea sees not her friends, but a storage room. This room clearly belongs to the woman, who opens it during the day to move her things back and forth, but locks the door at night.