Going into Aaron Schimberg’s A Different Man, one would be forgiven for feeling an uneasiness about the film’s themes. Feeling isolated from something we cannot control is a challenging life to live. Wanting, and demanding change only to regret the change is not a way to survive. Yet, that’s exactly the predicament Edward (Sebastian Stan) finds himself in.

Edward is a struggling actor, and Schimberg surrounds the character with all the trappings of a struggling actor: a run-down studio in a crappy New York borough, and an annoying new neighbor, Ingrid (Renate Reinsve). She aspires to what Edward presents himself to be: a playwright without boundaries. Schimberg’s script and direction infuse the characters with gives and takes. Stan is steadfast in his resolve while Reinsve is determined to make it and opens Edward’s eyes to new possibilities. Schimberg focuses the camera’s attention on the two neighbors without seeming obvious and plays the drama for dark comedy. The comedy misses more than it lands however the cast seems to be enjoying themselves.

However, Edward suffers from neurofibromatosis, a condition that leaves him feeling isolated. Stan plays that aspect with an unexpected earnestness, yet with an awkwardness that doesn’t suit the actor. The awkwardness betrays the actor’s discomfort.

Schimberg’s script intentionally and frustratingly develops a blushing, flirtatiousness between Ingrid and Edward. Stan’s awkwardness incredulously plays against Reinsve’s promiscuity: we know Ingrid wants more than what Edward can offer and the audience is left feeling used and abused. It doesn’t help when you consider how ingratiating Ingrid is when she reveals she’s written a play specifically suited for Edward because it is about Edward.

Here enters the film’s charming center, Adam Pearson as Oswald. Oswald has confidence, grace, and a beautifully British accent about him. The actor presents himself to the world as he is. As Oswald, he enjoys the limelight, every part the antithesis of what made Edward so unique. Pearson lights up the screen and, if a reason is needed to see a Different Man, he would be it.

Schimberg’s direction feels more confident than his script. In the latter half of A Different Man, the tables are turned on Edward; the plot and pacing lull, and the aforementioned unease gains traction. Pearson’s magnetism makes the film’s second half more tolerable, earning our empathy, as Edward descends into his pit of hell.

A Different Man is a character-driven piece that is more dark than it is comedic. Adam Pearson, both his screen presence and the character are highly memorable but are not enough to save the story from itself.