Film Review – The Drama (2026)

      The Drama, 2026.

      Written and Directed by Kristoffer Borgli.

      Featuring Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Zoë Winters, Hailey Benton Gates, Jordyn Curet, Michael Abbott Jr., YaYa Gosselin, Sydney Lemmon, Anna Baryshnikov, Greer Cohen, Peyton Jackson, Hannah Gross, and Jeremy Levick.

      SYNOPSIS:

      A couple happily engaged faces a major challenge when an unforeseen event disrupts their wedding week. Emma (Zendaya) and Charlie (Robert Pattinson) are fine-tuning a dance for their upcoming nuptials. After a drunken round of “the worst thing you’ve ever done” with Best Man Mike (Mamoudou Athie) and Maid of Honor Rachel (musician/actor Alana Haim), the unexpected drama unfolds in Kristoffer Borgli’s dark romantic comedy, The Drama. A shocking revelation disturbs the relationship dynamic between the Bride and Groom, leading one of them to keep up romantic appearances while navigating a whirlwind of emotions.

      Without giving too much away, it genuinely presents past baggage that might prompt anyone to reconsider their wedding, and potential viewers could be compelled to leave the theater if the subject matter is one they find difficult to handle for various valid reasons. The screenplay cleverly employs a seemingly benign drinking game to kickstart the plot, hinting that all four individuals have their own personal issues (some more severe than others, as none of the three shared confessions compare to the harshest one), with their revelations serving as boundaries of empathy, extending beyond the characters themselves. It's also important to mention that only one confesses a thought rather than a horrific act, leading viewers to weigh the context of each response.

      Showcased through outstanding performances from the cast, Kristoffer Borgli's remarkable direction translates these complex emotions visually. He draws upon daydream elements from his previous work, Dream Scenario (which, for those unfamiliar, explores a world where people dream about Nicolas Cage, resulting in a narrative related to thought crimes—a recurring theme in both films). The film includes brief, hauntingly static images of violence, hinting at either past events, a foreboding future, or something lingering in a character’s mind because they can't escape what they know about their partner.

      Reveals are often described as moments that reshape the whole narrative for viewers, creating opportunities for exciting re-watches. In this case, the movie dismantles everything constructed in the first 15 minutes (thanks to tight editing by the filmmaker working with Joshua Raymond Lee, who efficiently delivers all pertinent details about the couple and juxtaposes past and present). It also serves the purpose of earlier dialogue carrying weight into later scenes, but at times, the screenplay can come off as a bit forced, designed to get the characters discussing certain topics. However, this isn't much of a flaw given the thematic depth presented throughout. Every moment is utilized effectively, with character interactions simultaneously fueling their internal conflicts and testing our empathy alongside theirs.

      One might argue that some characters lack empathy, whereas others might fully resonate with them. The film appears to challenge the boundaries of empathy, suggesting that complete knowledge of a loved one is unattainable (unless they engage in this game and reveal painfully honest truths), pointing toward the notion that true love requires radical acceptance. Perhaps any other form of love is insubstantial.

      Nonetheless, a significant portion of The Drama explores the revelation for genuinely dark humor (even incorporating high school flashbacks for one character), while incisively addressing the violence it depicts and how some characters discuss it as if they are walking embodiments of satire, providing sociopolitical commentary. In many ways, it reflects America's emotional state as a nation, mirroring the strain in this singular relationship on the verge of disintegration.

      Simultaneously, one character reevaluates everything they understand about their partner, even starting to delete phrases from entire paragraphs of their speech. The stress mounts to the extent that they begin acting out, partly as a dramatic romantic gesture to defend their partner before society, justifying the potential for continuing with the marriage. Admittedly, there are moments when the film feels more provocative than profound, and at times it feels forced, as it pits these four individuals against each other.

      The Drama will evoke significant real-world drama; many couples may be challenged, and marriages could be called off if they play the same game honestly. It stands as an uncomfortable, darkly comedic appeal for society to confront some of its most disturbing behaviors and their root causes while seeking empathy in circumstances where no one would be criticized for feeling it toward another. It results in multi-dimensional characters and drama that merits revisiting.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder