‘A DIFFERENT MAN’: Sebastian Stan Takes The Lead In This Atmospheric Exploration Of Identity
Expanding on the themes of performance and difference previously explored in his debut feature, ‘Chained for Life,’ Aaron Schimberg's ‘A Different Man’ retains his dark humour and fondness for the macabre. Featuring stellar performances from Sebastian Stan, Renate Reinsve, and Adam Pearson, the film delves into the intricate interplay between how we are seen by others and our true selves.
During the first half-hour, we follow Edward (Sebastian Stan), an aspiring actor grappling with a facial deformity caused by neurofibromatosis. He leads a solitary life in a dusty one-bedroom flat in which an ominous hole leaking a brown liquid has opened on the ceiling. Instead of addressing it, he places a bucket underneath, hoping for the best. Despite his solitude, a glimmer of hope emerges as he forms a friendship with Ingrid (Renate Reinsve), his open-minded next-door neighbour and playwright. Clearly enamoured with Ingrid, who finally sees past his physical appearance, Edward seizes the opportunity to regain a “normal” face through a risky and painful reconstructive procedure, hoping to escape the piercing stares of others.
Sebastian Stan in ‘A Different Man’
After shedding layers of skin and pieces of flesh (fans of Cronenbergian skin peeling will love it), Edward wakes up with a new handsome face. While he is both in awe and horrified looking at this new reflection, we all wonder if this might be the key to his happiness and success. We see him being looked at by women in bars, moving into a bigger flat, and landing a shiny real estate job. Things might seem brighter and sexier on the surface, yet he quickly discovers that under the facade, he is still the same awkward man, as uncomfortable in this new skin as he was before, with the same fears and ghosts.
As he metamorphoses into this new face, the film oscillates between moments of discomfort and comedy, mirroring the unpredictability of Edward’s journey we’ve all embarked on. Years later, going by a new name, he reconnects with Ingrid, who doesn’t recognize him. She is writing a screenplay starring a man with neurofibromatosis, essentially Edward himself before his surgery, and heavily inspired by true events that happened between them at the time. Ingrid has clearly not forgotten about her unique neighbour, who seems to be feeding her creativity. She gives the part to Edward, who has to wear a mask of his previous face and recreate the person that he was. As he rehearses for the role of his life, he begins a relationship with Ingrid, who asks him to wear the mask in bed.
Sebastian Stan, Renate Reinsve, Adam Pearson in ‘A Different Man’
Schimberg plays with the juxtaposition of his two faces, with one slowly winning Ingrid’s heart, which begs the question: which one is the real mask? Things get even weirder when Oswald (Pearson), a man with neurofibromatosis, enters the scene. Unlike Edward, Oswald embraces his appearance and exudes natural charm. His arrival triggers a rollercoaster of emotions for Edward, who cannot compare with his charisma. Eaten up by guilt, regret, and envy, he is forced to question what and who truly defines his identity. Eventually, Oswald gets Edward’s part in the play, and Ingrid runs away with him. Left with nothing but his pretty face, Edward is left wondering what would have happened had he said no to the surgery. Would he have gotten the part? Would he be with Ingrid?
Elevated by impeccable production design and witty dialogues, his metamorphosis offers a reflection on the superficial standards that often govern our perceptions and raises interesting questions: can we go as far as sacrificing our identity for societal acceptance? Why do we value normalcy so much, and what does it bring us?
At the heart of ‘A Different Man’ lies a profound commentary on the societal obsession with identity and conformism, skilfully avoiding sentimentalism thanks to Schimberg’s capacity to punctuate painful truths with moments of levity.