Aaron Schimberg - 'A Different Man' movie review (2024)

Aaron Schimberg - 'A Different Man' movie review (1)

(Credits: Far Out / A24)

Film » New Reviews

Weird cinema is back. Right now, we’re in a moment where audiences and moviemakers alike are locked into a revived love affair with films that make your skin crawl and your heart pound. But not in a traditional horror way. Instead, it’s more psychological. Or, in the case of Aaron Schimberg’s new A24 project, A Different Man, it’s more intellectual.

While described as a drama or even a thriller, that doesn’t cut it. The movie follows Edward Lemuel, played by Sebastian Stan, with some incredible and extensive prosthetics, who is a struggling actor with neurofibromatosis, which has caused him severe facial disfigurement. We meet Edward in his life in New York when a new neighbour, Ingrid Vold, played by Renate Reinsve, moves in and shows him kindness. The opening is slow and emotive as Edward lives a life of isolation, keeping himself to himself due to the insecurity and fear caused by his appearance. Then, a ‘cure’ comes along.

A Different Man could ride along on that plot only, focusing solely on the psychological impact of Edward’s transformation as Stan sheds the FX makeup and his character begins living as Guy, a successful and wealthy realtor. But instead, it expands into something much bigger and endlessly more interesting. When his character discovers that his old neighbour, who believed him to be dead, is writing a play about his life and their interactions, he gets himself cast, forcing him to reconnect with his old self while also meeting Oswald, another man with neurofibromatosis, played by Adam Pearson, an actor with the condition in real life.

This is one of the film’s master strokes. The tension between Oswald and ‘Guy’ and Edwards is complex and utterly conflicting. As Oswald slowly gets more involved in the play about Edward, audiences grapple with so much to think about; you understand Guy’s annoyance that Oswald is stealing his life story away from him. You understand Ingrid’s desire to get Oswald involved as someone living with the condition that she doesn’t know Guy had previously, and there’s also this fascinating dynamic between Osward and Edward as two people, connected by this condition, but handling it totally differently. It challenges viewers’ perception of how Edward lived, shy and scared, was the norm or was typical of people with disabilities. As Oswald lives this vibrant life of hobbies, friends and incredible confidence, Schimberg challenges perceived notions and the typical narratives around disability by playing these characters off against one another.

However, that is really only one part of the movie’s fascinating build. While the conversation around disability gives way to some visceral body horror moments, the psychological power of the film comes from its consideration of art. Renate Reinsve’s role of Ingrid transforms from a sweet neighbour into one who feels like the movie’s villain. As she talks to Guy about her play, Edward, calling the character “her creation” and taking ownership over his life without realising she’s talking to the real man, it becomes a story about the leaching nature of inspiration and asks questions about who owns a story and who gets to tell it. Similar to her role in The Worst Person In the World, Reinsve plays Ingrid with an amazing ability for irritation. She’s so good at managing to tackle difficult and conflicting characters who you both hate at once but can’t help but feel a certain kinship or love for in moments of sassiness or humour.

Across the board, the film’s performances are remarkable. Sebastian Stan, especially, shines. Actors associated with the Marvel universe so often end up being categorised as unserious or shrugged off, but with this project, it feels like Stan is putting in a powerful bid to be recognised as one of the boldest talents around. With this odd and complex piece and the upcoming Donald Trump biopic, it’s clear that he’s keen on taking on difficult projects, and this one proves he can manage it.

Conflicting, complex and difficult feel like the only words for A Different Man. It’s the sort of film that has you analysing it right there and then, noticing how tight your chest feels or how wound up and genuinely frustrated you’re getting throughout the run time. There is so much meat to it, as the plot is not only hooking and genuinely entertaining but is loaded with big questions that linger long after the credit. As it builds and builds in drama and tension, the intellect it holds is matched with a chaotic streak akin to The Substance, where a thoughtful topic and a wildness combine into something so interesting and certainly impactful.

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