From Jeff Nelson

As humans, we equip different metaphorical masks to fit our social surroundings. However, the literal and figurative examples of this prove to be the greatest horrors for an aspiring actor in Aaron Schimberg’s A Different Man. Its thought-provoking concept has its heart in the right place, but its message gets lost in its erratic tone and dubious plotting.

After undergoing facial reconstructive surgery, Edward (Sebastian Stan) enjoys his new life blending into the general population. He develops a fixation on a new actor named Oswald (Adam Pearson), who takes over the lead role in a stage production based on his former life.

Edward’s acting dreams reach far beyond the walls of his miserable apartment and cheesy workplace learning videos that solely reduce him to his physical differences. He quickly develops romantic feelings for his new neighbor, Ingrid (Renate Reinsve). Her unapologetic confidence draws him in, but it’s apparent that her selfish motives drive their initially innocent interactions. Society tells him life would be significantly easier if he looked like the average man. Edward thoroughly enjoys his new existence until he discovers Ingrid’s stageplay and the leading role he no longer fits.

A Different Man is a story of self-reclamation, where Edward struggles to compromise between his new and old lives. He witnesses Ingrid, and later Oswald, take control of his narrative, leaving him helpless without admitting his secret. Oswald embraces his disfigurement and possesses the composure, spotlight, and natural talent Edward always dreamed of. Schimberg hardly traverses this path, leaving it as a dangling, underutilized plot thread. 

The dry, dark comedy isn’t laugh-out-loud funny, but it works within the story’s innately awkward moments. Edward’s physical and psychological transformation holds a mirror to modern society’s judgments and biases toward people with disfigurements. Strangers avert their gaze from Edward until after his surgery unless they can exploit him for their own advantage. Yet, they can’t help but stare at Oswald for his innate charm, sending Edward spiraling within himself.

Stan delivers the most dynamic performance of his career thus far, capturing Edward’s nuances beyond the words on the page. However, it’s tough to imagine him considered an “average” man with his exceedingly good looks. Sure, Edward is no longer the best fit to play his fictional counterpart in Ingrid’s play, but he otherwise achieved the life he wanted without further nuance connected to the life he left behind. Character motivations from this point make little sense. Even so, Pearson is equally bewitching, commanding the screen with such charisma as Oswald.

A Different Man has a mentally stimulating concept encompassing otherism and exploitation, but it’s clumsily paced and emotionally disconnected. The tone shifts between comedy, drama, and thriller without entirely excelling in any of them. There are only so many directions a film can abandon before it sours the whole experience. If only the narrative execution could capture the depth of its impressive performances.

Rating: 2.5/5

A Different Man hits theaters on September 20th, 2024.

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