What’s the worst thing you’ve ever done? That is the catalytic question of “The Drama,” a new A24 film released in theaters April 3.
The movie stars Robert Pattinson and Zendaya, two major Hollywood names. It has performed well at the box office thus far, marking A24’s third highest grossing movie opening to date.
Most of this success likely comes from the mystique around the film’s marketing. A24 gives only a vague one-sentence summary: “A happily engaged couple is put to the test when an unexpected turn sends their wedding week off the rails.”
Without spoiling, it is hard to describe the dissonance between the movie’s marketing and the reality of the plot. It promotes itself as an artsy romantic comedy with some nebulous drama, relying on star power and curiosity to pull people to theaters. The marketing is intentionally deceitful, showing little of what actually occurs in the film, and the trailer is a masterclass in editing.
This is refreshing, considering the recent trend towards previews that give away the entire movie. However, there are also some potential ethical concerns about the movie’s marketing.
I went in knowing nothing about the movie, and that is clearly the way A24 designed it to be, but I am not sure that is the best approach, considering the sensitive topics at the heart of the film. There is a fine line to walk between preserving plot points in the name of surprise and throwing theatergoers in the deep end, forcing them to confront triggering topics with no warning.
This movie is, at its core, about secrets.
The film is tightly wound with tension. The score by Daniel Pemberton stands out as a highlight, working in tandem with excellent performances from the main cast to keep you on the edge of your seat.
The film shines aesthetically as well, shot on 35mm film with sets presenting a beautifully lived-in atmosphere. Despite these strengths, I struggle to form a firmly laudatory stance on the plot of the movie.
It is a movie that tries to be many things. There is a clear attempt to transcend genre while presenting a nuanced ethical dilemma, and the efforts are commendable. However, because of this undertaking, it fails to pin down exactly what it wants to be or provide an answer to its propositions.
The performances from Pattinson and Zendaya propel its dramatic qualities, and the cast is kept very tight, allowing for what could have been an excellent deep dive into some complex characters. Ultimately, it never delivered on these nuances, painting some characters as unlikeable, which weighed heavy on an already small group. The film’s editing shines as far as psychological thrillers go, phenomenally blurring the line between reality, hypotheticals and memories — each viewer may walk away with a different understanding of what was real or fake.
There are some moments that feel close to a jump scare, but it never fully commits, giving a lackluster attempt at fear and landing on tension, not showcasing the psychological thriller elements it clearly wants to.
The movie raises questions around forgiveness, human capacity for change and retribution — and the questions are good. They are stressful and uncomfortable to think about and hard to choose a universal stance on.
Sadly, the film tries to wrap up these loose philosophical ends in a way that feels like an erasure of the nuance it presents — it cannot decide whether it wants to be an unfinished, artsy depiction of human complexity or if it wants to have a satisfying, conclusive ending and thus is halfhearted in both.
I would recommend seeing the film, even if just to spark up some conversations with your preferred movie-going companion. But I do think it should raise some questions about what the line is for concealing the true intentions of a film. Given the moral murkiness surrounding it, I would’ve liked for it to have handled its ethical propositions with a bit more delicacy and clarity.