The Drama follows Charlie and Emma the week of their wedding. While drinking with friends, they decide to go around and say the worst thing they’ve ever done. The trailers promised a shocking reveal, and wow, did they deliver. From the moment the incident is revealed, you could hear a pin drop in that theater. The tone of the movie switches immediately, which kicks off one of the most hilarious, uncomfortable, and eerie rides of the year.
The subject matter of the reveal is undoubtedly going to make some audiences uncomfortable, and the film knows this. Instead of dancing around the topic, it fully commits, using various character reactions to show a wide range of reactions. It’s hard not to place yourself in Charlie’s shoes, trying to navigate this impossible situation. The conversations and emotions around the reveal not only feel realistic but also meaningful. The reveal alone was enough to make this movie interesting, but the delicate care it takes with the conversation around this topic is what makes it memorable. Nailing the tone with a story like this can be extremely hard, but using some nonlinear editing and tasteful humor, The Drama excels.
Tone control like this can only be achieved through some stellar performances from Robert Pattinson and Zendaya. From the opening scene, the chemistry between these two is more than believable, which makes the awkwardness to follow even more fun. Pattinson’s performance is an external and expressive one, while Zendaya’s is much quieter and composed, but equally as powerful. In a couple of scenes, there’s not more than a few words said, but a cascade of emotions being portrayed by both. Perhaps the best example comes in the third act, making for a scene so uncomfortable that the audience was squirming in their seats. And that discomfort isn’t accidental, it’s the result of the filmmakers committing to a wild idea.
That’s not to say the movie is not an enjoyable watch, though. Visually, it’s gorgeous, and that beauty works in a couple of different ways. DP Arseni Khachaturan chose to shoot on 35mm film, giving everything a more intimate and realistic feel. The slight grain and blown-out highlights create a visual language that feels closer to home video than artificial Hollywood. The production and costume design follow that same philosophy, there’s a clear aesthetic that’s executed at a really high level. Matching that aesthetic is a very minimal score from composer Daniel Pemberton, a stark contrast to his more grandiose work like Spider-Verse and Project Hail Mary. The music is much more restrained, centered around a drifting flute that fades in and out when needed.
The drama works so well because it lets the audience be a fly on the wall, watching a car crash in slow motion. It satisfies that inherent human urge to ask uncomfortable questions, to lean in even when we know we shouldn’t. There’s a good chance it hits a little too close to home for some people, but with the subject matter it’s tackling, that feels intentional rather than excessive. The filmmakers had a clear vision, and they fully committed to it, creating something that isn’t easy to watch but impossible to look away from.
