In the new dark comedy “A Different Man,” Sebastian Stan’s appearance dramatically alters as a way to explore the question of who we truly are beneath the surface.

Written and directed by Aaron Schimberg, this captivating film (★★★½ out of four; rated R; currently in selective theaters, with a nationwide release on Friday) tackles ideas about identity, empathy, self-realization, and beauty with a humorous twist and outstanding performances. Stan shines as a man with neurofibromatosis whose miraculous treatment turns his existence into turmoil, and Adam Pearson, a British actor with the same rare condition in real life, provides a refreshing and scene-stealing performance.

Edward (Stan) is a thespian in New York who appears in cringe-worthy corporate training videos aimed at teaching inclusivity. Unfortunately, this message of respect doesn’t apply to his own life, where he faces ridicule, laughter, and disdain because of his facial growths.

The only individual who shows Edward kindness is Ingrid (Renate Reinsve), his charming next-door neighbor and aspiring playwright. They develop an awkward friendship, where she seems interested in him, but he is clueless about how to respond.

As Edward’s condition deteriorates, he becomes unable to see from one of his eyes. Following his doctor’s recommendation, he enrolls in an experimental treatment and is given a mask resembling his original face to wear as he undergoes the therapy. The treatment proves incredibly effective, leading to a grotesque scene where his tumors are removed, ultimately leaving him looking quite attractive and ready to reinvent himself. Ingrid overhears him claiming that Edward is “dead.”

Years later, he emerges as a successful real estate agent rebranded as Guy, exuding confidence. However, despite this external transformation, internally he remains deeply insecure. This becomes glaringly apparent when he finds out that Ingrid has written a play based on his life.

During auditions, Guy wears his mask and secures a role, largely because Ingrid feels a connection with him. He also meets Oswald (Pearson), who resembles his former self but is adored for his vivacious and charming personality. Oswald wishes to befriend him, but things take a turn when jealousy strikes, leading Guy to lose his role to Oswald and spiral into violent irrationality.

Stan’s transformation into his character is aided by the prosthetic work of Mike Marino – an Oscar nominee for “Coming 2 America” and likely again for this film – making him virtually unrecognizable as he portrays Edward’s solitude and shyness, which resurface as his bravado as Guy begins to crumble.

In what is likely the standout of his two transformative roles this awards season (he’s also notable as Donald Trump in “The Apprentice”), Stan is wonderfully eccentric in “A Different Man,” and it’s a joy to see his grim demeanor juxtaposed against Pearson’s warmth and charisma. Having previously appeared in English television and in Scarlett Johansson’s “Under the Skin,” Pearson exudes a natural charm, embodying the ideal version of Edward that he wished to become, as opposed to this constructed persona of Guy.

Although the film’s conclusion falters as it wades into its own peculiar philosophical depths, it retains a thrilling psychological edge. The dynamic between Edward and Oswald, who nearly mirror each other, adds a mind-bending aspect to this complex narrative that critiques a society that often marginalizes those deemed “other” while valuing superficial transformations.

With its unique blend of thoughtfulness and absurdity, Schimberg invites us to reevaluate our perceptions of others as well as ourselves—and to ponder who bears responsibility when we find the reflection unsatisfactory.