The Drama is a psychological horror film masquerading as a romcom. From the jump, something feels a little off about the “meet-cute.” At a coffee shop, Charlie (Robert Pattinson) sees Emma (Zendaya) reading a novel (The Damage by Harper Ellison, a truly excellent fake title and author). Taken with her, he does a quick google search of the book and approaches her.
“I love that book,” he says.
She ignores him. All of a sudden, he feels like all eyes in the coffee shop are on him, judging him for this hapless pick-up attempt. Time seems to freeze.
Finally, she removes her single earbud and looks at him. She explains that she’s deaf in one ear and had no idea he was even talking to her. They decide to have a do-over, a cute practice that is repeated throughout their romance. He sits back down and tries again.
Later, over dinner, he continues the ruse when she asks him for his thoughts on the ending of the novel.
“Is she dead?” Emma asks.
“Um, yeah, I think she’s dead,” Charlie says.
“And what about the mirrors?”
“Uh…the mirrors?…I think they’re, um, metaphors,” he sputters.
She stares at him, quizzically, until he finally comes clean: He hasn’t read the book. He just wanted to talk to her.
That lie, while seemingly innocent, was actually pretty dark: He wooed her under false pretenses, pretending to be something he wasn’t. Not necessarily a dealbreaker, but a red flag to be sure. What else would he lie about to get his way?
But here’s the thing: This film isn’t actually about Emma’s safety or whether or not Charlie can be trusted. It’s the opposite. You see, Charlie has told a tiny lie. Emma has been hiding a whopper.
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Okay, so Emma and Charlie get engaged. They’re in love—and they’re happily planning their wedding. Over a tasting dinner of mushroom risotto and too much wine with Charlie’s best man, Mike (Mamoudou Athie) and his wife, Emma’s maid of honor, Rachel (Alana Haim), they play an ill-advised game of “What is the worst thing you’ve ever done?” (I can’t emphasis enough how much you should never play this game.)
They go around the table, admitting some genuinely messed up things, until they get to Emma, who is quite drunk at this point.
“I planned a school shooting,” she says.
Charlie laughs nervously.
Then, with mounting horror, everyone around the table realizes she’s serious.
“I didn’t do it, of course,” Emma says quickly. But the damage has been done.
It’s Rachel, played with exquisite haughtiness by Haim, who storms away in disgust. As far as she’s concerned, Emma is canceled. The wedding is obviously off. And a freaked out Mike essentially agrees with her.
It’s up to Charlie to navigate his conflicting emotions. In the wedding speech he was writing, he extols Emma’s unimpeachable character, but now he thinks, does he ever know her? (There’s a wonderful scene where he begins editing out words like “kindness” and “empathy” in the speech.) He can’t reconcile the woman he thinks he is marrying with a person who would plan such an evil act.
So yes, The Drama is about the impossibility of really knowing someone. And I like the idea of a romcom morphing into a kind of “hell is other people” horror film.
But something about this film really put me off. It’s reminiscent of Tár, a film I actually loved that nonetheless had one glaring flaw. As we know, most so-called “geniuses” who get away with sexual predation are men, but Tár dared to ask the question: What if it was a woman? Flipping that paradigm seemed like provocativeness for its own sake.
It’s worse with The Drama, mostly because it’s not nearly the film Tár is. The majority of school shooters are boys. More specifically, white boys. Why on earth have a movie about a Black woman who considered such violence?
The answer is simple: It’s to center Charlie’s dilemma, his pain, his confusion. I knew without even checking that the film had been written by a man, writer/director Kristopher Borgli (Dream Scenario). The film is entirely from Charlie’s perspective as he drives himself slightly mad with uncertainty.
Pattinson, who burst on the scene playing a heartthrob vampire, has spent the rest of his career trying to undo that fact. He specializes in men on the verge of a nervous breakdown—I feel like I’ve almost never seen him in a film where he doesn’t twitch and sweat—so this is right in his wheelhouse. He’s good at playing Charlie’s increased agitation. Should he go through with the wedding or not?
The ever-captivating Zendaya has the trickier part because her inner life is intentionally opaque—that’s part of the puzzle of the film. We’re supposed to at least entertain the notion that Emma could actually be psychopath, not just a woman who had a troubled adolescence who briefly lost her way.
Zendaya does the best she can with this cryptic character, but I found the whole premise of The Drama off-putting.
Yes, the otherness of our lovers is rich material to mine. But the shock value of this film overpowered its ideas. (It’s like that old fashion insult: “You’re not wearing the jacket. The jacket is wearing you.”) By embracing an outlier and taking the premise to such an extreme, the film lost its grip—both on reality and my interest.