Stories dealing with self-esteem, social acceptance, and prejudice certainly deserve attention, but only if they are told in a clear, understandable, and relatable way. Sadly, writer-director Aaron Schimberg's third film fails to achieve that. The movie centers on the peculiar story of Edward Lemuel (Sebastian Stan), an aspiring New York actor who has a severe facial disfigurement – his face is covered with tumorous growths. When he discovers a new medical treatment that promises a cure, he eagerly signs up for it. Soon after a series of disturbing events that give a whole new meaning to “skin peel,” he finds himself with a normal (and quite handsome) appearance. But now that he has this new look, does he truly want it? Can he adjust to the changes it brings? This transformation leads him to question things when he starts experiencing everything he had previously desired, like a romantic partner, Ingrid (Renate Reinsve), and a starring role in an off-Broadway play. He can’t help but quietly wonder if he's being accepted because of his looks or who he is as a person. Furthermore, was the negative reaction he received from others really as bad as he thought, or was his perception distorted by his own self-image? This becomes even more apparent when he meets Oswald (Adam Pearson), a cheerful and well-adjusted man who lives a successful and fulfilling life despite having the same condition Edward once had. These are universal themes that many people might consider at some point, all rooted in how we view our lives – whether we see them as half full or half empty. However, when viewed through this lens, these ideas feel unnecessarily confused by a flawed script that seems unsure of what kind of movie it wants to be. Is it meant to be unsettling horror? A dark comedy? A psychological thriller? As presented, the film is an awkward mix of all those things, with abrupt transitions, underdeveloped characters, and superficial explorations of its central themes. Instead of directly addressing its intentions, the film spends a lot of time skirting around them (and often stumbling in the process), especially with the inclusion of strange plot elements that only serve to confuse the narrative. The final product resembles the eccentric, over-the-top works of filmmakers like Charlie Kaufman, Ari Aster or Darren Aronofsky, more akin to “The Substance” (2024) than the graceful storytelling of “The Elephant Man” (1980). Despite its many flaws, “A Different Man” is occasionally elevated by strong performances from Pearson, Reinsve and Golden Globe Award winner Stan. But that’s hardly enough to rescue this film from itself.

Source on TMDB