A Different Man

Adam Schimberg's film is an intriguing deconstruction of beauty standards

Despite advancements in how society treats people who look different, physical attractiveness remains a valuable currency. This theme was central to The Substance (2024) and is now also explored in A Different Man (2024).

A Different Man follows Edward (Sebastian Stan), a man with a facial tumor who harbors feelings for his beautiful New York neighbor, Ingrid (Renate Reinsve). After undergoing a radical facial reconstruction procedure, an unrecognizable Edward reinvents himself as a real estate agent under a new identity. However, when a theater production based on his pre-surgery life gains attention, Edward becomes increasingly fixated on the actor portraying him (Adam Pearson), forcing him to confront his relationship with his past self.

The film marks writer-director Adam Schimberg’s third feature and serves as a spiritual follow-up to his brilliant Chained for Life (2018). That film, which also starred Pearson, was set on a film production, cleverly exploring the ethics of telling stories about people with unconventional appearances. In both Chained for Life and A Different Man, Schimberg rejects the cliché that those with unusual looks lead miserable lives—revealing, unsurprisingly, that they are simply regular people. Whereas Chained for Life blurred reality and fiction by intertwining its characters’ personal lives with the film being made within the story, A Different Man takes a different approach, dividing these perspectives into two distinct narrative halves.

The first half plays like the Hollywood version of this story: Edward, shy and ridiculed, holds onto hope when a beautiful woman treats him with unexpected kindness. However, after his transformation, the film shifts into a self-reflective and deconstructive mode, forcing viewers to question their own expectations. Schimberg offers no clear answers, instead prompting audiences to interrogate the ethics of storytelling, the desire for fairy-tale resolutions, and how beauty standards shape the narratives we deem acceptable.

The film further challenges these expectations through its casting. Stan, known for his Marvel superhero roles, plays Edward under prosthetic makeup before his transformation, while Pearson—who has a real-life facial condition—portrays the character in the play within the film. Schimberg uses this contrast brilliantly, luring viewers into sympathizing with Stan’s character early on, only to later expose the limitations of that two-dimensional perspective. By placing Pearson in the role of a self-assured, charismatic presence rather than a pitiable figure, the film subtly critiques the audience’s initial biases, turning sympathy into self-examination.

A Different Man is elevated by its outstanding trio of leads. Stan delivers his best performance to date, skillfully navigating Edward’s physical and psychological transformation while duping the audience into his perspective. Reinsve perfectly embodies the archetype of the "manic pixie dream girl" in the first half, only to gradually evolve into a more complex and autonomous character. Pearson, in just his third film role, commands every scene he’s in. His charm and natural screen presence make a compelling case for him to be given more opportunities in the industry.

However, the film suffers from structural issues. The shift from its farcical first half to its introspective second half creates a sense of disjointedness, occasionally losing its grip on both character and narrative momentum. The finale, in particular, feels unsteady, with Schimberg pushing credibility and self-reflection to the point of imbalance.

Nevertheless, A Different Man is a fascinating and deeply thought-provoking film about how we tell stories, what we expect from them, and how we value beauty. Despite its uneven structure, the film’s strong performances, sharp thematic duality, and Schimberg’s intelligent storytelling make it a truly unique and compelling watch.

7.9/10