A Different Man is a psychological drama that surprises you at every turn, blending dark themes with unexpected humor. Directed by Aaron Schimberg, the film follows Edward, a man haunted by his appearance, who undergoes a mysterious transformation that allows him to escape his former life. Reinventing himself as Guy Moratz, he claims that Edward "committed suicide" and fully embraces his new identity. At first, it seems to work wonders—Guy thrives at his sales job and even catches the romantic attention of Ingrid, a theater director he meets by chance. But as the film progresses, it becomes clear that leaving the past behind isn't as simple as it seems. Starring Sebastian Stan, Renate Reinsve, and Adam Pearson, the film explores identity, transformation, and self-deception, all while keeping the audience laughing and on edge with its absurdly ironic twists.

Sebastian Stan is pitch-perfect in the role, portraying both Edward's brooding, isolated pre-transformation self, and the slick, confident Guy. Edward's physical transformation catalyzes his attempt to reinvent his life. As Guy, he exudes confidence, quickly climbing the ranks at his sales job. A chance encounter with Ingrid, his pre-transformation crush, even leads to the romantic relationship he never dared to pursue. There's a sense of exhilaration in these early scenes as Guy thrives—he's living the life Edward could only dream of.

As with any compelling psychological thriller, the illusion of perfection is fleeting. Guy’s carefully constructed persona begins to fracture when Ingrid casts him as the lead in her theatrical production—a play that bears an uncanny resemblance to Edward’s own life. In an ironic twist, Guy is assigned the role of his former self, requiring him to wear a prosthetic mask that mimics Edward’s formerly disfigured face. This confrontation with his past is far more direct and destabilizing than anticipated, forcing him to grapple with the remnants of the identity he thought he had shed. Complicating matters further, Guy develops a possessive attachment to the role, feeling an inherent entitlement to the portrayal since it is, after all, his own life on display. His growing frustration intensifies when Ingrid begins reinterpreting the character, reshaping its motivations and personality in ways that diverge from Guy’s understanding of himself, triggering a profound identity crisis.

Renate Reinsve shines as Ingrid, the confident and enigmatic director. I was thrilled to see her on screen again—her performance in The Worst Person in the World was unforgettable, and she brings that same spark to this role. Ingrid's relationship with Guy starts off romantic, but the dynamic shifts as they work together on the play. Ingrid insists the character is her creation, and the role begins to diverge from Guy's sense of identity. The tension between them builds, and you can feel Guy's carefully constructed new self start to fray at the edges.

And then, when you think things couldn't get more twisted, Adam Pearson enters the story as Oswald. Oswald, who bears a striking resemblance to Edward before his transformation, introduces even more biting irony. Despite his appearance, Oswald begins achieving the very things Guy has been desperately seeking. Ingrid casts Oswald as the pre-transformation Edward, leaving Guy to play the "after" version. Even more crushingly ironic, Oswald starts a romantic relationship with Ingrid, the woman Guy thought he had won over with his new face and persona.

Pearson's presence brings a new depth to the film's exploration of identity and self-worth. Watching Oswald, with his disfigured appearance, step into Edward's former life while Guy plays the "ideal" version on stage is one of the film's sharpest ironies. It's a subtle but powerful commentary on how external appearances often mask the deeper truths of identity and self-perception. Oswald is a character full of quiet dignity, and his success highlights how hollow Guy's transformation truly is. The film brilliantly twists the notion of a transformation story—rather than freeing him, Guy's new identity becomes another prison.

What makes A Different Man so engaging is its balance between dark, unsettling tension and laugh-out-loud moments. The film is full of ironic humor, with Guy's attempts to live his new life often appearing painfully awkward or absurd. The audience I watched it with was constantly cracking up, especially as Guy's grip on his new persona started to slip. Sebastian Stan has a knack for playing characters whose intense internal conflict is masked by an outward cool, and here he excels. His portrayal of Guy is both tragic and hilarious, capturing the ridiculousness of a man who thinks a new face is all it takes to escape his past.

At the heart of the film is its sharp commentary on identity. Guy's transformation may have changed his outer appearance, but his internal struggles remain unresolved. They become more pronounced as he tries to maintain the illusion that Edward is gone for good. As Ingrid's play takes shape, with Oswald and Guy representing two sides of the same man, the film underscores the futility of trying to outrun your true self. The juxtaposition of Guy and Oswald—two versions of Edward, one pre- and one post-transformation—creates a fascinating tension. No matter how much Guy wants to believe he's changed, the play forces him to see that he's still haunted by the same insecurities and fears that plagued him as Edward.

Aaron Schimberg expertly blends humor with psychological tension, creating an entertaining and thought-provoking film. The ambiguity surrounding Edward's transformation adds a layer of mystery, while the characters' evolving dynamics keep the story unpredictable. A Different Man feels fresh, offering a unique take on the psychological thriller genre while weaving in themes of identity, beauty, and self-deception.

By the end, the film leaves you questioning the nature of transformation and whether we can genuinely escape who we are. A Different Man is more than just a psychological drama—it's a sly, ironic exploration of the masks we wear and the facades we build, with stellar performances from Sebastian Stan, Renate Reinsve, and Adam Pearson. It's the kind of film that sticks with you, challenging your perceptions and delivering an experience that's deeply unsettling and surprisingly fun.

— 4 / 5 ⭐