A Different Man (2024) Review!!

Synopsis – After undergoing a facial reconstructive surgery, Edward becomes fixated on an actor in a stage production based on his former life.

My Take – While it is not a proven fact, but most of us aren’t exactly comfortable in their own skin. Despite the changing times, women are still judged for their outward appearance and sex appeal, and men, especially with all of the current discussions surrounding masculinity, are being judged even more for their success, bank balance and appearances.

Raising the question: does is it make one less of a man/woman if they do not meet these mythical standards?

That is exactly the point that is being asserted in this latest A24 feature, written and directed by Aaron Schimberg (Chained for Life), that delivers an exhilarating blend of body horror, dark comedy, sci-fi and romance in the form of a very thoughtful yet twisted drama which dives deep into its protagonist’s mind and portrays just how things can get out of control when one really gives into the whole facade.

Sure, not all of the ideas presented land successfully, particularly in the increasingly agitated and fragmented second half. Still, the film remains bleakly funny throughout, and lest anyone takes its premise too literally, it’s one of the year’s finest explorations of identity, and a proper descent into madness that mixes well placed humor and body horror to surreal effect.

The story follows Edward Lemuel (Sebastian Stan), a struggling actor suffering from neurofibromatosis and manifests as a disfiguring facial condition, who lives a stagnant life in a rundown apartment. That is until he befriends his new neighbor, Ingrid (Renato Reinsve), an upcoming playwright who promises him a part in her play. Though he is clearly attracted to her, his facially disfigurement and low morale prevents him from expressing his true feelings.

Luckily for him, his doctors manage to get him on an experimental treatment which quickly returns his face to a more normal visage. And when he realizes that no one recognizes him, he assumes a new identity, calling himself Guy Moratz, and moves away. Sometime later, while living a better life as a successful real estate agent, he discovers that Ingrid is putting on a play about the old “Edward”.

But though he quickly wins himself the lead part role and finds himself in a sexual relationship with Ingrid, things become difficult with the arrival of Oswald (Adam Pearson), a dapper, witty, confident British guy with precisely the same (untransformed) facial condition who professes himself to be a massive fan of Ingrid’s creative process. With his sheer confidence and happiness, everything he is not, Oswald soon becomes a doppelganger threat to Edward.

Without a doubt, Aaron Schimberg‘s direction is fantastic as he shows a strong grasp on the tone. Backed by Wyatt Garfield‘s 16mm cinematography, his film becomes central to evoking the identity crisis; with drawn-out, inquisitive movements. Indeed, there’s something quite hilarious and circular about the way the story pans out.

A sort of be careful what you wish for type scenario. Thankfully, director Schimberg refuses to give into the horror tropes that another filmmaker might have embraced. What’s most intriguing about the film is how it deconstructs the male psyche and doesn’t let the character become a new person, mainly a savior of any kind.

In the sense, throughout the film we see Edward feels embarrassed by his appearance, and fails to see his worth in a society bent on looks and stature. What he doesn’t realize is that his inner self is interesting and complex. Even when he is conventionally attractive, he is still the same nervous, awkward person.

On the other hand, Oswald is aggressive and pushy, but most importantly confident. While his outward features should be a setback in his life, his charismatic personality makes him the perfect foil for Edward. He is powerful in ways that Edward can only pretend to be, pushing him out of a play about his own life, stealing his love interest and earning the admiration that Edward has always craved. Leading to some troublesome outcomes for him.

The script also makes a few timely jabs at theater, particularly in what it means for someone to authentically portray and embody disability.

Performance wise, Sebastian Stan is phenomenal and deserves all praise for committing 100% to a deeply flawed character living through a very complex situation, and for giving an intensely physical turn. Behind him, Adam Pearson takes control of the proceedings with ease from his confident entrance and remains a standout in every subsequent appearance.

Renate Reinsve is a dream as the quirky-beautiful next-door neighbor who is kind to Edward and deliciously reveals her questionable true nature in the latter half of the film. On the whole, ‘A Different Man‘ is an ambitious, reflective and emotionally resonant black comedy that takes a layered look at beauty and self-worth.