Sebastian Stan becomes… Sebastian Stan in Aaron Schimberg‘s latest tragicomedy. Though his striking looks shield him from his inner turmoil as a meek, lonely loser, the film dissects the deeper meaning of “beauty is in the eye of the beholder.” It explores what it means to be attractive, how we perceive beauty, and what it signifies to be beautiful both inside and out.
Stan begins the film as Edward, an aspiring actor with neurofibromatosis, which leads to him being covered in layers of prosthetics to simulate severe facial tumours for much of the movie. Due to these disfigurements, Edward can only secure minor roles. He lives in a typical New York apartment complex, the complex is designed irregularly with most rooms feeling small and cluttered, stairs that are long and windy and apartments that are filled with outcasts and loners. This includes his new neighbour Ingrid, played by Renate Reinsve, who takes a genuine interest in Edward’s life. The chemistry that Reinsve and Stan has is perfect. Both actors can portray this awkward love, which leaves the viewer unsure if Ingrid is truly in love with Edward or is just taking pity on who he is. Yet when offered the chance to “shed his skin,” Edward seizes the opportunity without hesitation.
Edward becomes Guy — handsome like a movie star and successful as a real estate agent. Schimberg offers a pessimistic take, suggesting that Edward’s looks were never his real problem; it is fundamentally who Edward is — a loser. He is never shown in a positive light, never offered redemption or sympathy. In a key scene, we watch Edward aimlessly stare at a growing leak mutation on top of his ceiling. The lighting is dark and eerie with only a main focus between the growing fungus and Edwards’s distorted face. The camera constantly pans back and forth between the leak and his face, it feels as if Edward is staring into his soul. Schimberg seems to want to use all his technical powers to implement the ideology that Edward isn’t an unlikely hero who will change his life around yet a character who is compared to a growing decay.
In contrast, Oswald, played by Adam Pearson, is introduced. Oswald also has neurofibromatosis, but unlike Stan’s prosthetic transformation, Pearson has the actual genetic disorder. Despite this, Oswald is portrayed as suave, charismatic, and cool — a man who does yoga in the park, and acts in off-Broadway plays, all of which the film showcases. Edward was constantly seen in small spaces accompanied by a dower score these scenes felt hopeless at times. We see Oswald perform a cover of I Wanna Get Next To You a cover of a Rose Royce song in a New York Karaoke bar. The camera slowly pans closer and closer to Oswald as a glistening spotlight shines off his face. As red tinsel dazed behind him it feels as almost Pearson was channelling Sinatra on that day of shooting The scores begin to soar which feels like a mix between Randy Newman and Danny Elfman. In this scene, it becomes apparent that Guy and Oswald are nowhere near the same people.
Stan and Pearson work in harmony in this film. While Stan’s prosthetics are a standout achievement for the makeup team, it’s his physicality that truly shines. As Edward, Stan shrinks his body, appearing small and weak, but as Guy, he moves with broader gestures, reflecting his growing ego. However, once Guy’s bubble bursts, that same scrawny cower returns. Either way Stan can command the screen which is undoubtedly impressive considering the major body of his work is usually a supporting role in the Marvel’s blockbuster franchise. I enjoyed seeing him stepping out of his comfort zone and choosing a role that denies him being able to use his undeniable good looks.
Pearson, despite having appeared in only three feature films, carries himself with the confidence of a seasoned actor. Pearson’s presence within the production seemed to have been a major motive to ensure this film got into production and wide release. In an interview for The Guardian, Pearson admits “My disability is the least interesting thing about me”. The actor truly embodies what this film is about, the limits of disability yet the importance of capturing life. Schimberg wrote the role specifically for Pearson after they collaborated on the 2019 satirical drama Chained for Life, and Pearson delivers a compelling performance, portraying a man who truly understands how to live in the face of challenging hurdles.
A Different Man feels like a callback to the early days of an unproblematic Woody Allen crossing over with the oddball-ish tendencies of Charlie Kaufman. Schimberg creates this alternate reality that allows us to re-evaluate who we are as human beings. The film is undoubtedly an intriguing feature that poses a haunting question: what if you met someone who had suffered as much as you, endured the same tragedies, but managed to conquer it all? Meeting someone in this world who is just like you — but better.
