From rising comedic auteur Kristoffer Borgli (Dream Scenario), The Drama is a sexy, contemporary romantic comedy about a pair of young Boston professionals who find their relationship and pending nuptials put to the ultimate test after a sudden revelation throws their happily ever after into spectacular turmoil. British expat Charlie Thompson (Robert Pattinson) is a museum curator who meets literary editor Emma Harwood (Zendaya) in a Cambridge café; after a whirlwind courtship, they settle into blissful domesticity and start planning their wedding.
With the summer wedding season right around the corner, The Drama could not come at a better time of the year to tie the knot—for better or for worse, in sickness or in health. This could easily be the best or worst movie to watch before getting married or attending a wedding, as it could open up a can of worms in your own relationships. Going around a friend group and asking, ‘What’s the worst thing you’ve ever done,’ is a group chat death sentence—especially for those who are truly honest. But does it have to be?
The moral dilemma or controversy in The Drama’s storyline intrigued me most because it has become so desensitized, particularly in North America. This movie ponders how accepting and understanding one can be of someone they love, beyond what anyone else thinks. The film holds a mirror to the audience’s face and never lets them breathe, primarily because Charlie is constantly freaking out about Emma’s truth. I would say the camera and scenes focused about 60% from Charlie’s POV or male gaze, and then 40% from Emma’s POV or insight.
I have to credit the editor on this film, Joshua Raymond Lee, who recently worked on the Netflix limited series Ripley. Borgli and Lee’s vision for using cuts to ramp up the pacing throughout the film worked so well for both the comedic and dramatic bits. Typically, critically-acclaimed films can use long takes to allow the actors to show them wallowing in their unravelings.
However, this movie showed how quick cuts to other moments in Charlie and Emma’s day-to-day lives can convey the humour or turmoil they are feeling at that moment. Also, the sound design was a noteworthy touch when the characters couldn’t hear each other, leading to a literal breakdown in communication and anguish for them.
From a non-evident storytelling perspective, the moral of the story seemed to center around communication and understanding. These issues were not explicitly outlined, but the story themes were woven throughout the film, right up to the end. One of the best lines Charlie says while trying to write his wedding speech is when he is talking about Emma: “I love how you turn every drama into a comedy.” In a sense, this summed up their whole relationship, which we get to see how this one line delivers that sentiment throughout the film.
“One aspect in which The Drama excelled was Pattinson and Zendaya’s on-screen romantic chemistry.”
Composer Daniel Pemberton’s score and whimsical flute themes fit the movie’s tone and message. It is not whimsical in the sense that everything is light-hearted, but rather in the sense that the two main characters have a sense of whimsy. Acting on a whim is another theme that centers on its two leads and their journey. The unpredictability of it all made this both an entertaining and an insightful watch, with the soft flutes setting the right mood.
It would be a crime to compare The Drama to last year’s A24 rom-com drama Materialists. While both have similar elements and Pemberton scored both films, they both had different narrative agendas. I would argue that The Drama had a stronger message overall and made me think about my friendships, the worst things I have done in life, and whether I would ever tell anyone. Whereas Materialists examined how economic conditions can shape romantic choices in unorthodox ways.
One aspect in which The Drama excelled was Pattinson and Zendaya’s on-screen romantic chemistry. Their playful banter and the ways they navigate conflict felt raw and awkwardly realistic for the characters they were playing. Even when they are disconnected or disappointed in one another, they displayed emotions befitting the situation.
The only letdown about their performances was that we had seen these performances from them before. This could be applied to Pattinson’s awkward yet charming Mickey in Mickey 17 or Zendaya’s quiet-aggressive charm like Tashi in Challengers. It was great casting, but it did not push them into new territory.
From a character writing standpoint, I was initially taken aback by how Charlie and Emma’s friends Mike (Mamoudou Athie) and Rachel (Alana Haim) took Emma’s worst thing she had ever done. However, they were two examples of how public perception and social norms can demonize and harm others, despite the issue being a hot-button topic. The initial reactions looked genuine, but I could not get behind how offended they were, since they all seemed like close friends. Regardless, Athie and Haim nailed their performances.
The actress who stood out to me the most in The Drama was surprisingly the youngest cast member, Jordyn Curet, who plays Young Emma. This was her first major feature film role, and she understood the assignment to a T. If this is the role that is her big break, she deserves it. In the same way audiences were entranced by Owen Cooper’s role in the Netflix miniseries Adolescence, they can expect to find this sublime performance in Curet’s depiction of a younger Emma, which, indirectly, is a commendable portrayal of a younger Zendaya.
I can understand where the rift and ripe social commentary of The Drama will be divisive among critics and viewers. Perhaps I viewed the movie through rose-coloured glasses, and the way the plot unfolded felt unrealistic. To that, I would ask audiences whether they have truly been experiencing life to its fullest or whether they could ever put themselves in someone else’s shoes. These are the kind of introspective quandaries and conversations that The Drama could spark if you set aside what we know about social deviance and cultural norms.
