MIRROR IMAGES
The New Yorker|September 23, 2024
‘A Different Man” and The Substance.”
Justin Chang
MIRROR IMAGES

Horror movies have taught us to shudder before a bathroom mirror, lest an assailant suddenly appear, looming behind an unsuspecting protagonist, as the medicine-cabinet door swings shut. But not all reflections are jump scares in waiting, and not all victims and predators are distinguishable. This week brings two pictures, each a conceptually bold, mordantly funny cautionary tale, in which a mirror bears witness to an astonishing transformation—a miracle, or so it seems, that gradually curdles into a nightmare. In “A Different Man,” a disfigured face is peeled off, revealing smooth skin and chiselled features just underneath. In “The Substance,” a woman’s dream of eternal youth is fulfilled as she gives violent birth to her own younger, shapelier doppelgänger. You needn’t be a David Cronenberg fan (though I suspect one of the filmmakers is) to find yourself murmuring his most famous mantra: “Long live the new flesh.”

In “A Different Man,” a thrillingly mercurial third feature from the writer and director Aaron Schimberg, Sebastian Stan plays Edward Lemuel, a mildmannered New Yorker with a genetic disorder called neurofibromatosis. With bulging tumors above the neck, he’s “facially different,” in the parlance of a workplace sensitivity-training video in which he appears as an actor. But little such sensitivity greets Edward in the real world. People gawk and flinch on the subway; a comely neighbor, Ingrid (Renate Reinsve), upon meeting him, lets out an involuntary shriek. She and Edward soon strike up a friendship, but the suspicion lingers that Ingrid, an aspiring writer, might be nosing around for good material. Sure enough, she later drafts a semi-biographical play, titled “Edward,” which she keeps shredding and rewriting, struggling to walk an empathetic tightrope over an exploitative chasm.

This story is from the September 23, 2024 edition of The New Yorker.

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This story is from the September 23, 2024 edition of The New Yorker.

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