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'A Different Man' Review

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October 9, 2024
By:
Tyler Banark
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A24’s latest black comedy, A Different Man, is an intriguing psychological drama that takes viewers on a thought-provoking journey through themes of identity, transformation, and obsession, with Sebastian Stan, Renate Reinsve, and Adam Pearson leading the way. Directed by Aaron Schimberg, the film follows the story of Edward (Stan), a man grappling with his appearance and sense of self after undergoing facial reconstructive surgery. He then becomes fixated on an actor (Pearson) portraying him in a stage play based on his life, setting the stage for a tense exploration of how outward changes can impact one’s internal world. At its heart, A Different Man is about the fragility of identity and the fact that everyone should know any one thing doesn’t define their worth.


Edward’s surgery is intended to offer him a fresh start, a way to shed the physical features that have made him feel ostracized and alienated. However, instead of finding peace or comfort in his new appearance, he spirals into a dangerous obsession. This core premise taps into something universally human—the desire to be seen and accepted and how external perceptions shape our sense of who we are. Yet, the film twists that premise into something unsettling, as Edward’s fixation on the actor blurs the lines between admiration, envy, and self-loathing. Stan delivers a layered performance by portraying a character who undergoes not just a physical transformation but an emotional and psychological unraveling. His ability to convey Edward's internal turmoil without falling into melodramatic traps is commendable. Much of Stan’s performance relies on subtle facial expressions and body language, especially given the fact that Edward, post-surgery, is someone who is literally and figuratively hiding behind a new face. His restraint in portraying Edward’s growing obsession feels measured and controlled, making it all the more unsettling to watch his character descend into a darker state of mind.



Supporting Stan are Reinsve and Pearson. While the former is minor to the plot, her role adds a layer of emotional complexity to the film. Much like her breakout role in 2021’s The Worst Person in the World, Reinsve’s character is drawn into Edward’s world, and her interactions with him reflect his internal struggles. There’s an awkwardness and tension in their exchanges as she, too, becomes entangled in the surreal situation. The chemistry between the actors is notable, though the film is less interested in romantic entanglements and more focused on the psychological dynamics at play. Then there’s Pearson, who has neurofibromatosis, playing both Oswald and a version of Edward’s former self in the play. This duality is fascinating, as it forces Edward to confront his physical past and the psychological baggage that comes with it. Pearson’s performance is captivating in its own right—he adds a rawness and authenticity that grounds the film’s more surreal elements.


Visually, A Different Man creates an unsettling, almost claustrophobic atmosphere. The strange cinematography is critical in this as it uses shadows, muted colors, zooms, and close-up shots to evoke a sense of unease. The film is not overtly a horror film, but it borrows many elements from the genre, particularly in how it builds tension and atmosphere. The way Edward is often framed—isolated, detached from his surroundings—reflects his emotional and psychological state. The more he ponders why Oswald isn’t shunned by society because of his appearance, the more he becomes the monster he thinks people thought of him pre-surgery.


The film’s pacing, however, may prove divisive for viewers. Schimberg deliberately takes his time unraveling the plot, and the film’s slow-burn approach can either work as a meditative exploration of identity or feel too sluggish for those looking for more immediate thrills. While the slow pacing helps to build a sense of dread and inevitability, it also means that certain plot points feel stretched or repetitive. Furthermore, the film raises many intriguing questions about identity, self-perception, and the nature of obsession, but it doesn’t always provide satisfying answers. There is a deliberate ambiguity in how Schimberg handles the themes, which some may appreciate as a way to leave the film open to interpretation. However, the lack of a clear resolution may be a missed opportunity for others.



A Different Man excels at creating a world that feels almost dreamlike in its disorientation. The blend of psychological drama with subtle horror elements allows the film to hover in a unique space, even if it doesn’t fully commit to one genre. The film’s use of the stage play as a central device is also practical, as it mirrors Edward’s internal journey. Watching someone else portray him on stage becomes a metaphor for the way Edward is distanced from his own identity. Schimberg’s previous work often centers around characters on the fringes of society, and A Different Man continues that trend by offering a protagonist who feels out of place in his own skin. Edward’s journey is one of isolation and alienation, and the film’s depiction of his struggle to reclaim his sense of self is haunting and poignant.


A provocative look at identity and worth, A Different Man sees Sebastian Stan at his best while Adam Pearson gives a statement performance that should resonate in today's industry loudly. While it does ponder a bit and makes the audience question its intentions, it never ceases to commit to its goal. Schimberg’s direction shows a clear vision, even if the film doesn’t always reach its full potential. It’s a haunting and unsettling piece of cinema that, despite its flaws, leaves a lasting impression.

You can follow Tyler and hear more of his thoughts on Twitter, Instagram, and Letterboxd.

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