User reviews

Much like Sebastian Stan's character Edward, for many years I was always the person that looked like another person. There was always a caveat of course, where it seemed like the person I supposedly looked like seemed more interesting, outgoing and well known amongst these groups. This parallel with my life and the film instantly drew me in.

It's intriguing this film came out so close to another film centering around identity, that being The Substance. Where the satire and in your face boldness of that film will define its legacy, A Different Man's approach is much more pensive and sad. It reflects the unique challenges of men and women, where women are judged for their outward appearance and sex appeal, while men are judged more for their success and charisma (though sex appeal does play a part in this film). Edward feels held back and 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, but he can't harness that power in him. Even when he is conventionally attractive, he is still the same nervous, awkward person. He acts how he thinks he should act in this role, rather than be himself. This is what makes the introduction of Oswald so interesting.

Oswald is aggressive, pushy, and dare I say diabolical. While his outward features should be a setback in his life, his confident and 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 love and admiration that Edward felt deprived of. Edward is so weak and overwhelmed that he once again tries to pretend to be something he is not on top of his false persona. Edward never truly accepted his true self, and it eventually leads to some troublesome outcomes for him.

I definitely think this film is going to hit a lot of men quite hard, the reviewer included. With all of the discussions about what is masculinity or what even defines a man, it's difficult being our true selves due to the fear of being judged by mythical standards. Is the fact I never went to war not make me a man? Is the fact I am overweight and broken make me less than a man? People forget the pressures men feel in modern society, and we just turn off and sometimes disappear into the woodwork. Suicide and death are approached subjects in this film, and much like in reality, they are brushed aside.

I was definitely intrigued by this film, for we rarely see true deconstructions of the male psyche where the character doesn't do a complete 180 on their life and become a confident Casanova or something, or saves the day like every man wishes they can do. The reality is, most of us just exist and hope things turn out for the best. I did wish the movie had addressed the elephant in the room, which was trying to portray a story about a physically handicapped person without making them a victim. I think they expertly dealt with that subject with some meta commentary at the end. I don't think they wanted that subject to overrun the story, but they at least addressed the issue. In retrospect, they handled it as best as they could.

Kudos to Sebastian Stan for committing 100% to a deeply flawed character living through a very complex situation, and for giving an intensely physical performance.

I wish I could say I liked the movie more than I did. It's a compelling premise and gets even more so once the actor Adam Pearson makes his appearance (Pearson also gives a wonderful performance, by the way). But I felt every minute of this film. It's not long, but it feels like it is. It overstayed its welcome for me by a good fifteen minutes or so.

But I liked the central question the movie asks of its main character -- where's the line between being unfairly held back by societal constructs because of our disadvantages vs. Voluntarily opting in to being a victim? Stan's character does some pretty reprehensible things by the time the movie is over, but your heart can't help but go out to the guy.

Grade: B.

What I assume will be a breakout film for Aaron Schimberg, "A Different Man" explores a particular set of emotions that are attached to self-confidence while portraying the short-sided effects of instant gratification. The story provides reason to escape our imperfections until we notice someone living confidently with them. Sebastian Stan is remarkable and transformative in the role of Edward; both physically in the way that he adapts himself to the environment of constant stares and apathetic connection, and also internally with the gradual evolution of his mental complexities. Visually, the film has a 70s noir texture which is complementary to the indie aesthetic of New York City, and with flavors of drama and psychological horror, every sequence is a step in the dark and even more so with the thunderous, and at times, frightening sound design. This is such a unique project that will continue unraveling its mysteries as more people get the chance to see it.

I enjoyed A Different Man, but it fell a little bit short of my expectations because there was so much hype surrounding it. It was good, a very A24 type movie, but not the kind of movie I'll be revisiting very often.

Sebastian Stan is great, but I never admire an actor who has the task of playing a bad actor. He manages to pull it off well, while also doing some solid acting aside from that. Renate Reinsve also had the unfortunate task of playing an unlikeable character, which just seems to be her resume, but again she did well. It's hard to actually rate Adam Pearson as he is such a unique actor and the role was a little bit overbearing, but I certainly enjoyed his performance.

The story felt a little like Adaptation. (2002) at times and even a bit like The Shout (1978). I'm not quite sure how I feel about it on the whole yet, as the ending was somewhat interoperative. It's a movie that will take some digestion so my rating may change later.

Simply put, it just feels like a cheap shot when the film begins by presenting the undeniable struggles of the main character's life and has him pursue a cure for completely understandable reasons - and then effectively turns around and says "Actually, all of the problems in his life were his fault, he didn't really get better in ways which matter after that, and let us present a totally idealized version of someone with the exact same condition to prove why."

"Accept yourself for who you are and do not seek external fixes" message might come from the right place, but it is not so inspiring when his condition was effectively shown interfering with something as important as his eyesight and generally affect his quality of life even when nobody was watching.

Furthermore, this film also exhibits the same contrivance which brought down Challengers for me - the insistence that like a duckling, the lead MUST imprint onto the first remotely meaningful relationship shown in the narrative and fail to form anything offscreen even when all the conditions are there for it. It is worse here when that relationship effectively comes from a combination of pity and fetishism - as the film is at least honest enough to acknowledge.

For all of that, the first half is very strong in its depiction of the grime of main character's life, reinforced in a variety of unusual ways like the PSA he is part of. Even the second half has enough neat moments - whether in digging down to the details of stage productions or other smaller twists and turns - to avoid ever feeling like a total loss.

I suppose one reason I'm so disappointed is because this could have been a remarkable narrative of a climber who benefited from the system (in this case, the research breakthrough turning him into "A Different Man") only to pull up the ladder behind him for entirely selfish reasons. Instead, the film pretends the climb was never worth it in the first place and stalls around various meta layers instead of developing the point.

"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" and almost creates a villain of the piece too! Is that merited or is that justified? The drama shines a light on the more shallow attitudes amidst society, on our intolerances and assumptions but it also swipes at the fickleness of friendships, fame and success - all rather engagingly delivered by both Stan and Pearson. It's the former man who positively exudes exasperation as the denouement (only vaguely) skirts the Chaplinesque. It's on that note that it's worth saying this is quite funny at times, too - the writing doesn't try to impose any morals on us, rather it presents us with some scenarios and lets us enjoy and evaluate as we go. It doesn't hang about, and right from the start we hit the ground running as the characters develop, the personalities emerge - for good or bad, and it's well worth a couple of hours in a cinema. I got more from it second time round as I was able to focus a little more on the nuance than the imagery.

"A Different Man," directed by Aaron Schimberg, sets out to explore the unsettling relationship between identity, appearance, and self-acceptance, taking the audience on a strange and, at times, uncomfortable journey through the illusions we create to feel accepted. With a style that flirts with dark humor and existential drama, the film stands out for its peculiar approach and the way it subverts expectations, refusing to deliver a redemptive or simplistic narrative. Sebastian Stan, known for his roles in blockbusters, once again steps out of his comfort zone and takes on a role that demands not only a physical transformation but also a deep dive into a character full of contradictions and vulnerabilities.

Stan plays Edward, a man with a severe facial disfigurement who dreams of becoming an actor, but whose lack of talent is as evident as his insecurity. The story gains strength by presenting Edward not as a stereotype of perseverance or inspiration, but as someone genuinely flawed-pathetic even-whose pursuit of aesthetic change is born from misguided ambition and repressed vanity. Schimberg's script succeeds in portraying Edward in a raw, unfiltered way, without resorting to easy sentimentalism. And Stan, even buried under layers of prosthetic makeup, delivers a sensitive and nuanced performance, capturing the essence of a man torn between the desire to be accepted and the inability to accept himself.

Visually, the film evokes a retro charm, with Super 16mm cinematography giving it a grainy texture and a nostalgic color palette reminiscent of urban dramas from past decades. The dense atmosphere of New York, with its worn-out streets and claustrophobic apartments, adds to the protagonist's sense of isolation and displacement. The visual style complements the subtly absurd tone of the narrative, which at times feels reminiscent of early Woody Allen films, with snappy dialogue and tragicomic situations that shift between the melancholic and the ridiculous.

The dynamic between Edward and Ingrid, played by the charismatic Renate Reinsve, adds an interesting layer to the story. Ingrid is a Norwegian playwright who moves into Edward's building with grand ambitions but carries her own insecurities as well. Reinsve delivers a magnetic performance, balancing her character's charm with a latent selfishness that keeps the audience constantly guessing about her true intentions. Their relationship unfolds in unexpected ways, oscillating between companionship and opportunism, revealing how both feed off each other's vulnerabilities.

The story takes a major turn when Edward, after undergoing a radical surgery that makes him "conventionally attractive," decides to reinvent himself as Guy, a real estate agent. This is where the film delves even deeper into the idea that appearance is just a superficial layer of identity. Even free of his old face, Edward still carries the same timid gestures, the same almost childlike insecurity, and Stan, with precise body language, brilliantly conveys this continuity. One of the film's standout scenes is an awkward encounter in a bar bathroom, where despite his new look, he still feels out of place and inadequate.

The introduction of Oswald (Adam Pearson) expands the discussion on identity and self-perception. Pearson delivers a captivating and charismatic performance, providing a stark contrast to Edward's character. Oswald, who has the same facial condition Edward once had, is confident, magnetic, and genuinely comfortable in his own skin-something Edward never managed to be. Oswald's presence acts almost like an inverted mirror, an unsettling reminder that the transformation Edward sought might never have been purely external. The chemistry between Stan and Pearson is one of the film's highlights, with dialogues filled with tension and a competitive energy, as Edward sees in Oswald everything he wished to be but never could.

The soundtrack adds an extra layer of irony and melancholy to the film, punctuating Edward's journey with tones that swing between dramatic and tongue-in-cheek. The music never underestimates the audience, suggesting complex emotions without forcing them, reinforcing the film's ambiguous tone, which never fully commits to drama or humor.

Overall, "A Different Man" doesn't offer easy answers or comfortable resolutions. The takeaway is that external transformation might change how others see us, but it doesn't necessarily alter how we see ourselves. Schimberg navigates this reflection with intelligence and a touch of provocation, questioning what truly defines our identity and how desperately we seek external validation. It's a film that unsettles, entertains, and, above all, makes you think-without ever falling into clichés or simplistic solutions.

I was not sure when to laugh or look pensive while watching A Different Man but I went with the audience and laughed when they did and thought when they did. Although I'm not sure I agree we should have laughed when we did because the story is of identity crisis above anything else. In this film, a man with facial deformities assumes another life after a successful surgery but is overwhelmed by what his new life is failing to give him and what the old life in hindsight gave him. It's a surreal experience where you will end up thinking about your own life should given a chance to change it and reborn as a new man. A Different Man shows that changing to another person looks good but it's the case of grass is greener on the other side. Sebastian Stan is adorable here.

(Watched at the 2024 MAMI Mumbai Film Festival.)

From what I'm reading online, everyone except me seems to find this film a comedy, but for me, this felt like horror. This gave me a similar feeling to what I felt after watching Synecdoche New York even though they're very different. Both had the making of a play as a central plot point and both made me feel like I'm watching a psychological horror film.

The protagonist Edward may be very different from me but his insecurities about life, the way he hides from the past and acts through the present, only to be shown to him he can't really make it because of who he is, just hits close to home.

The way this movie nonchalantly shows how people are perceived due to how each person believes what they are is striking. Be it the person who you expect not to be popular being popular or the person you expect to be kind being not that, maybe even unbeknownst to themselves. It breaks the bubble of how such movies usually show these kinds of situations by making it very unsettling which can be perceived as darkly comical as well I guess.

Sebastian Stan is brilliant with his body language conveying all the insecurities. Adam Pearson being the charming positive force of the movie was such a surprise but it's great to see especially when it's Sebastian Stan on the other side.

One of the best movies of the year and something I won't revisit anytime soon.

I found 'A Different Man' a very tough movie to get my head around just whether I enjoyed it or not. On the one hand I found it interesting and I was always curious what would happen next and how it would conclude. On the other hand, I rarely liked the choices it did make next and didn't love the way it did conclude.

I get the message the movie is trying to get across, but I'm not sure this was the way to hammer it home. I get that imposter syndrome is a real thing, but this seemed a little bit ludicrous and hard to buy into. But perhaps that's the point?

It is a very interesting film to look at though. The acting is great and it is shot in a lot of really interesting ways. There's also a grittiness about it that keeps you on your toes and has you unsure what is around the next corner. I'm really torn on this one, but I'll settle on 6.5/10.

I love this movie and almost everything about it. It has amazing style making this movie look like a film out of the 60's-70's and I love it for that. Another great aspect of the film is that the acting from Sebastian Stan and Adam Pearson bringing the story even more to life. My only criticism really is the plot not the first 3/4 which I believe is amazing putting you in Edward's shoes but my problem is with the final bit of the movie I won't spoil but the story does take a weird turn for a bit and then comes back in the final scene which I do enjoy. Overall this is a great movie with excellent symbolism, acting, and style. I understand people might not like this movie but I would definitely recommend at least one watch.

Similar in ways to The Substance, also released in 2024, A Different Man follows Edward who alters his life with surgery pressured to become a better version of himself. Less 'in your face' (pun not intended) than The Substance, Aaron Schimberg doesn't fully satisfy in following Edward's transition.

Pre-surgery Edward feels victimised and intimidated by strangers he meets. People want to be able to acknowledge him but these seem to serve as curiosities. His neighbour Ingrid shows warmth and willingness as she searches for the beauty within Edward. His early transformation however is where A Different Man doesn't fully realise it's capabilities.

The tenderness by Edward is lost with his transformation as the film deals with his emotions around friends he had made and what they may have a fondness to. It feels like a film without an ending planned. There is little in terms of a redemption arc.

A Different Man is a well crafted film but lacks a little bite but it's still a worthwhile film I wouldn't hesitate to reccommend.

Giving this an 7.5/10 rating

Superior drama with some very great acting form Sebastian Stan, Renate Reinsve and Adam Pearson, and big thanks also to writer / director Aaron Schimberg, for this very thoughtful, twisted drama which really dives deep into the mind and beauty, and just how things can get out of control.

As the title says, when opportunity rears it's head for Sebastian Stan's deformed character, he goes under a life changing offer that very much is the start of big things to come, good and very, very bad. Just what is real and who are you? Questions that run deep and true as the film twists into a thriller type genre, or you could even say, horror.

With poor old 'Joker- Folie à Deux' getting destroyed, you are better off seeing this. A film that will push you out of your comfort zone, in a good way, leading to a great deal discussions. Could see awards coming for this in many categories with Stan and many others, up and ready for it. Creepy, strange but easy to follow, this is great cinema.

The underlying message of the film resonated with me more than the film itself.

The core idea encourages people to strive for personal improvement and to embrace their true identities, notwithstanding any physical imperfections or deformities beyond our control.

It suggests that one should not dwell on these things, as others will quickly move past them once they recognize the individual as a good person with unique talents and qualities.

Ultimately, it is not our outward 1appearance that defines us as a person, but rather the depth of our character and the strength of our inner selves that provide solace during the darkest times of our lives.

I appreciate how the movie highlights this important lesson and constructs a nearly self-referential narrative around.

While I cannot say I was entirely satisfied with the overall execution, as there were elements I would have much preferred to see handled in a different manner, I do acknowledge and admire the effort that went into this project.

This movie whispers to you in a different language. It is not typical fare. I don't agree with other reviewers that it peters out from halfway. I think it gets stronger and stronger. Every scene makes profound statements about the nature of existence that could spur a million in depth conversations relating to character, outward appearance, the real self etc. I thought it was absolutely brilliant with some of the best dead pan humor and subtlety I've seen in decades. It got funnier as it went on. This film isn't made for the loud, brash, tick tock world we live in today. It harks back to a time before people had to have things explained to them and when people could sit through a film without wondering if their phone was about to light up. We need more of this. The actors, script and direction were phenomenal.

No spoilers here, but I watched the film last night with great anticipation. And I walked away feeling like I at least saw an unusual film with a unique story. At this point in life, it is hard for me to watch anything without feeling like I have seen something like it before. This film excels at being different from the rest for sure. The cast is incredible. All parts are well played and convincing.

So what is there not to like? Well, the first 30 minutes to me was captivating. But at some point, somehow the story feels like it goes off the rails (which yes I realize is the whole point of the movie to a degree). Tonally the movie suffers from trying to be funny, tragic, and uplifting, sometimes all at the same time. Some of the darkest movies can have funny moments, but there are straight up comedy bits (and yes the film is even categorized on my streaming service as a "comedy" and "drama").

While I 100% recommend the film to anyone who wants to take a glimpse into an unusual life, I have to shake my head at what was a bit of a wasted opportunity at true film greatness. I almost wish I had just stumbled into this film blindly, but I could not help but see the hype and awards it was racking up, which it turns out was a curse as it would have taken a perfect movie to be what I hoped. But I should be happy for getting to spend time with some really dynamic characters in what really is a good, not great, but good film.

It's The Substance for the boys! On top of focusing on beauty standards, body dysmorphia, confused identity, and transformations, it's more gendered in the aspects that men get insecure about such as status and success. From looking at the poster (hadn't watched the trailer), I assumed it was an empathic social drama about people with facial deformities, so I was surprised when this turned out to be an intensely surreal and meta Charlie Kaufman-esque nightmare. Much like Adaptation., there is so much foreshadowing that it's like the story commenting on itself ironically, and as this is about Sebastian Stan's Edward/Guy living a double life, it's doubly strong.

If you're the type of person who gets bothered when a piece of art doesn't follow real world logic (why doesn't he ever get the roof fixed?!), you'll find this film very frustrating. If you suspend your disbelief, then you're in for one hell of a ride. There is a point where this living nightmare could have been prevented with more honest communication, but theme of insecurity is key with Edward where after an experimental procedure goes well, he's suddenly faced with not having a facial deformity and how to explain that to others. So, he doesn't! The domestic anxiety (reminded of Beau Is Afraid) with the in-your-face editing by Taylor Levy and zooms, coupled with the body horror in this first act is particularly squirm-inducing, especially the face peeling scene (props to Mike Marino and the prosthetic makeup team). Sebastian Stan is such a good actor that when he loses the deformity and his demeanour becomes less awkward and "nervous nelly", I thought there was an original Edward actor who actually had a facial deformity and that's why Sebastian doesn't quite match up as being the same person despite wearing the same clothes. Complimenting the old-school tech is the filmic look in Wyatt Garfield's warm cinematography.

Renate Reinsve as Ingrid Vold is phenomenal as the girl-next-door love interest, off the heels of her star-making role in The Worst Person In The World. Her character veers almost to manic pixie dream girl but she is given more agency and a deeper role as the film progresses, revealing her own flaws and weirdness (the mask play sex scene is very uncomfortable). Adam Pearson is fantastic as Oswald, basically a more confident Edward and bringing out the most toxic actions out of Edward. Michael Shannon has a great cameo. There are points in the film where it seems like the film is looking at us viewing these characters and their deformities, such as one scene in a doctor's office when Edward looks directly at the camera. There are plenty of metanarrative elements like that, since it's about the creation and awkwardness of semiautobiographical art when Ingrid is inspired to write her screenplay about Edward. The conflict between Oswald and Edward breeds a lot of dark comedy and tragedy. The last few minutes and final shot with the final line is plenty thought-provoking. Aaron Schimberg's direction and screenplay is smart, keeping you on your toes until the very end. One of my favourite films of 2024.

"A Different Man" is undoubtedly one of this year's most pleasant surprises. At its core, it's a bold, thought-provoking film that dares to ask the question: "What does it truly mean to be yourself?"

Sebastian Stan delivers yet another career-defining performance, solidifying his place as one of the most versatile actors of his generation. Over the past few years, Stan has consistently challenged himself by taking on diverse and complex roles, refusing to settle for one-dimensional characters. In this film, he once again showcases his incredible range and depth, fully immersing himself in a role that demands vulnerability, intensity, and introspection. His performance is nothing short of mesmerizing and deserves every bit of praise.

One of the film's standout qualities is its multi-perspective storytelling approach. The director skillfully weaves together different angles and viewpoints, creating a layered narrative that challenges viewers to reflect on identity, self-perception, and authenticity. This exploration of "true self" is not only compelling but deeply relatable, making it a film that sticks with you long after the credits roll.

The cinematography and score also deserve a mention, as they beautifully complement the film's themes, enhancing its emotional impact without being overbearing. The movie strikes a perfect balance between being visually captivating and emotionally resonant.

Overall, *"A Different Man"* is an ambitious and thought-provoking film that succeeds on many levels. Its exploration of identity, combined with Sebastian Stan's fearless performance, makes it a must-watch for anyone looking for a story that's both unique and deeply human. Highly recommended!

I couldn't help but think of how much A Different Man reminded me of the works of Charlie Kaufman - it is so uniquely profound in its storytelling. A Different Man is a dark comedy exploring insecurities and wanting to be a better version of yourself - essentially our obsession with self-image. The writing is really great - it may start out slow but the last hour is lightning in a bottle. It's uniquely funny, pretty dark, and very perceptive about the masks we wear and those we can't shed. And it features a fascinating performance from Sebastian Stan, who delivers some of his best work! However, it is Adam Pearson who steals the show with a very charismatic performance, fully embracing his own face.

The review of the movie is literally in the movie:

"That guy's amazing, right? I... I gotta be honest with you, I thought it was makeup. I was saying to my wife... It's actually our anniversary. That's her over there. I was saying to her, "How'd they do that make-up?" "Right? What is that? Some kind of polymer, right?" "Where'd they get the budget for this?" But she says to me, "I think that's his face." And I said, "No, babe, you're nuts. "That's gotta be some sort of get-up." Like the whole time I'm watching the show, I'm sitting there thinking, "Is that real or is it some kind of weird effect?" I mean, I couldn't believe it either way. Man, I didn't know what I even wanted it to be. So what was it like, uh, working with him? I guess underneath all that, right, he's just a regular guy. Wonder if the guy that wrote the play, knew him before he wrote it, or if he just came up with a character like that on his own and just hoped the right guy would come along by chance. Right? Seems risky to me. Right? How do you go about finding that guy, right? Looks exactly how you envision. He can act too, right? I mean, how do you even describe him? What if they wanna put the show on in Boise? Like to fly that guy out? What if he's dead? They have to find the Idaho version of him. I don't know, would a mask work? Is that gonna be convincing? Would another guy with some other affliction, do just as well? I don't know. Maybe they just cast, uh, you know, regular guy like you, right? Or me, right? The way they do Shakespeare now with Black people, right? That puts a different kind of spin on it. So I'm thinking all this stuff during the show, right? I mean, to be honest with you, three hours ago, I'm saying to myself, "Do I really wanna go "and sit in an un-air conditioned theater, "for God knows how long, "to see some little play I've never heard of?" But it's our anniversary. And now I'm thinking all this 'stuff,' so that's how I know it's an interesting play."

Congrats on the Oscar nomination for best makeup and hairstyling/special effects.