A Different Man

In A Different Man, Sebastian Stan plays Edward Lemuel, a struggling New York actor with neurofibromatosis, a condition that heavily affects his facial appearance. Desperate for change, he goes through an experimental procedure to get a new face, emerging as “Guy Moratz” and ditching his old self.

As “Guy,” he auditions for a play by his former neighbor Ingrid Vold (played by Renate Reinsve), which just so happens to be based on his life. Landing the lead role, Edward’s fresh start gets complicated when he meets Oswald (Adam Pearson), another actor with neurofibromatosis. Oswald’s natural charisma and self-assuredness throw Edward’s own insecurities into sharp relief, making it clear that his real struggles might be more internal than physical.

The film dives into identity, self-perception, and society's take on looks, showing that changing your outside doesn’t magically fix everything inside. Sebastian Stan gives a strong performance, especially during the unsettling transformation scenes, but Adam Pearson’s Oswald steals the show with a vibrant, genuine energy that nails the film’s themes.

Visually, it’s got a gritty, 1970s feel that adds to the psychological weight of the story. The film swings through emotions, from funny to unsettling to downright sad, all while poking at how people react to Edward and Oswald in very real ways. It’s not shocking like The Substance, but it’s got that thought-provoking, introspective angle that leaves an impact.

In the end, A Different Man isn’t just about a face change—it’s a layered look at identity and acceptance, with echoes of The Elephant Man and The Shape of Water. Perfect for anyone who likes a deep dive into what makes us who we are.

“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.

A Different Man is a fictional story with roots in real-life experiences. While the characters and events aren’t based on actual people, the film explores universal themes, especially the social "difference" that people with visible disabilities or discrimination often face. Edward’s story follows a life-changing event that alters his sense of identity, allowing the film to examine issues of marginalization and representation in a unique, fictional context. I love how the overall setting of the movie is initially blurry when Edward is still Edward, but becomes clearer when he becomes Guy Moratz, reflecting Edward's own shifting vision and perspective. This is one of the things I love about A24 films.

Great movie, disappointing third act. I loved how it portrays jealousy and how people look at the disabled. A lot of it didn't know where it was going however. Was the message of the movie that disabled people had to look on the brighter side of life? Or how jealousy makes you look at things differently?

It's one of those movies that makes you think. It stays grounded and yet has some surreal stuff. Overall, something I would absolutely recommend watching it if you keep an open mind about how it ended.

Such an interesting and thought-provoking dark comedy with a heavy dose of surrealism. Adam Pearson is fantastic in it and steals every scene, but Sebastian Stan also gives a brilliant performance as Edward, showcasing once again his range as an actor.

The film tackles with the many different forms of loneliness, sadness, isolation, societal shallowness, and self-loathing, but also with self-love, and self-acceptance in a way that definitely makes you think about how superficial standards and perceptions dictate the way we treat each other and our own selves.

I had seen bits and pieces of this movie being advertised and proceeded to go in without knowing anything. Simply put, it works. The plot is a bit crazy but in a compelling way. Really enjoyed this one.

Rating: 4/5 - 85% - Would Recommend

A surreal journey through jealousy, inadequacy and shallowness. Well acted, with fitting soundtrack and mood.

It is always difficult to digest right when you see someone same as you doing things better than you, even if that were as small as accent?

What a ride this movie — of insecurities, jealousy, changes and finding your relevance amongst all.

A Different Man is a bold and surreal exploration of identity, perception, and society's obsession with appearances. With its gritty, 1970s-inspired visuals and dreamlike, almost uncanny atmosphere, the film feels both unsettling and thought-provoking.

Sebastian Stan delivers a compelling performance, particularly during Edward's transformation.

A Different Man leaves a lasting impression with its layered narrative and poignant commentary on self-acceptance, even if its message doesn’t always land as clearly as intended.

Great film, made me extremely uncomfortable. I’m so many ways.

It is supposed to.
I just had not expected this much discomfort tonight. Raises a bunch of questions, but ethical and other.