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Comedy, Drama 112 min R
Rotten Tomatoes93%Metacritic78IMDb
Aspiring actor Edward undergoes a radical medical procedure to drastically transform his appearance. But his new dream face quickly turns into a nightmare.
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Intimate, spare, prestige and character-led.
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**A Different Man (2024)** _Directed by Aaron Schimberg_ Aaron Schimberg's A Different Man announces its literary pedigree early, nodding to The Elephant Man and Cyrano de Bergerac (a clip plays on a TV screen, lest we miss the connection). But the true lineage, unacknowledged, is Hiroshi Teshigahara's The Face of Another (1966). Like that Japanese masterwork, Schimberg's film asks what happens when a man sheds his disfigured face, only to discover the prison was never external. The premise is solid, the comedy enjoyable, the performances committed; what's missing is the depth and creativity to fully realize its own twist. Edward (Sebastian Stan) lives with neurofibromatosis, his face a landscape of tumors that mark him as different in a world allergic to difference. He's a struggling actor, understandably withdrawn, yearning for the neighbor who's just moved in. When an experimental treatment offers him a conventional face, he seizes it, shedding his old identity like dead skin. Reborn as "Guy," handsome and anonymous, he believes he's finally free. But his neighbor Ingrid (Renate Reinsve), an aspiring playwright, has written a drama about Edward's former life, and the lead role g
Read the whole review on TMDBStories that allegorically address themes related to self-esteem, social acceptance and prejudice undoubtedly merit our attention, provided that they execute their narratives in discernable, cogent, relatable ways. Unfortunately, though, that’s where writer-director Aaron Schimberg’s third feature drops the ball. The film follows the strange saga of Edward Lemuel (Sebastian Stan), an aspiring New York actor afflicted with a severe skin disfigurement that has left his face overcome with tumorous growths. However, when he learns of a radical new medical treatment that offers the hope of a cure, he jumps at the chance. And, before long, after a series of incidents that bring graphic new meaning to the term “skin peel,” he’s left with a normal (and quite handsome) appearance. But, now that he has this new look, is it what he really wants for himself? Can he adjust to it and what it affords? This change thus prompts him to ask himself these questions when he starts getting all of the things he had once supposedly longed for, such as a beautiful romantic interest, Ingrid (Renate Reinsve), and a lead role in an off-Broadway play. He can’t help but quietly wonder, “Am I suddenly being acce
Read the whole review on TMDB"Edward" (Sebastian Stan) is a facially disfigured man, stuck in a rundown apartment, whose life isn't really going anywhere fast. Then he gets a new neighbour. "Ingrid" (Renato Reinsve) is a writer who befriends him and promises him a part in her play. Meantime, his doctors manage to get him on a radical course of treatment that gradually returns his face to a more normal visage. Returning to his flat, and with some fairly grotesque things emerging from his leaky ceiling, he realises that nobody recognises him anymore so he has to assume a different identity. That's when he discovers that "Ingrid" is, indeed, putting on a play - and that the old "Edward" is the title and the topic. He wants the part. It's his part. How to get it though without giving the game away? Add to his frustrations the arrival of "Oswald" (Adam Pearson) who is an ostensibly decent character but who also wants the role, and he has the aesthetics as opposed to the prosthetics. "Ingrid" has tough choices to make but where might this leave "Edward"? There's something quite circular about the way this story pans out. A sort of be careful what you wish for type scenario that gives and removes hope from "Edward" a
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