Disability and performance have a complicated history in the entertainment industry. From the controversial depiction of disability in Tod Browning’s 1932 film Freaks to the present-day portrayal in reality TV and award-winning movies, the relationship between disability and performance has been fraught with tension. Aaron Schimberg’s A Different Man is a film that is acutely aware of this tension and explores the complexities of how disability is perceived and portrayed in the media.
The film follows Edward, played by Sebastian Stan, who has neurofibromatosis, a condition characterized by benign tumors. Edward is introduced to the audience through the lens of a workplace sensitivity video, where he is cast for being “facially different.” Throughout the film, Edward’s loneliness is palpable, mirroring the decay of his apartment. His interactions with others are marked by discomfort, highlighting society’s unease with those who are different. Edward’s budding connection with his neighbor Ingrid, played by Renate Reinsve, is fraught with ambiguity, as her true intentions towards him remain unclear.
As the story unfolds, Edward undergoes a transformative procedure that changes not only his appearance but also his identity. He reinvents himself as “Guy,” shedding his former self and embracing a new persona. However, maintaining this facade becomes increasingly challenging, especially when he discovers that Ingrid has written a play about his life, casting him in the lead role. Enter Oswald, played by Adam Pearson, who also has neurofibromatosis and proves to be a more convincing version of Edward than Edward himself.
A Different Man is reminiscent of other A24 films that feature protagonists grappling with existential crises on a grand scale. The blending of comedy and horror in these narratives serves to underscore the characters’ internal struggles and external challenges. The film never fully suggests that disability is a construct of the mind, but rather explores the contrast between Edward’s lackluster personality and Oswald’s remarkable charisma. This juxtaposition raises questions about societal perceptions of disability and the role of performance in shaping identity.
In a metafictional twist, A Different Man also calls attention to the audience’s role in consuming narratives about disability. A scene where an audience member fixates on the authenticity of Oswald’s disability serves as a critique of voyeuristic attitudes towards disability in media. The film challenges viewers to reflect on their own biases and preconceptions about disability and representation.
Ultimately, A Different Man is a thought-provoking and engaging film that offers a nuanced portrayal of disability and identity. Through compelling performances and a self-reflective narrative, the film invites audiences to confront their assumptions about disability and the power dynamics inherent in storytelling. Its success lies in its ability to subvert expectations and challenge viewers to consider the complexities of disability representation in media.
As the film makes its way to limited release in theaters and then wider distribution, it promises to spark conversations about the intersection of disability, performance, and self-discovery. A Different Man is a testament to the power of storytelling to illuminate the human experience and challenge societal norms.