The long-awaited Zendaya and Robert Pattinson A24 psychological romantic-drama is finally out, and after waiting in anticipation for months with the idea of knowing what’s about to happen, it’s safe to say I came out of the movie theatre… thoroughly surprised.
Directed by Kristoffer Borgli, The Drama (2026) entails a nerdy, dishevelled Charlie, played by Robert Pattinson, and his relationship with the beautiful, laidback Emma, played by Zendaya. Following the couple’s preparations for their upcoming wedding, they go for a menu testing with their close friends Rachel, played by Alana Haim, and Mike, played by Mamoudou Athie, to which the sudden twist hits and the lead couple’s relationship begins to spiral. The four drunkenly dare each other to reveal the worst things they’ve ever done. They laugh over Charlie’s younger cyber-bullying phase, and Rachel’s locking of a disabled child in a cupboard, but then soon came Emma… If you haven’t already been spoiled the twist by your friends or Reddit theories, look away now, as the female lead reveals that in early adolescence, she had planned to commit a high school shooting.
Borgli’s utilisation of music to heighten the suspense, and the placement of Charlie’s uncanny illusions post-reveal to confuse the audience on what’s real, is directorial genius. The tension in the film’s characters broke through the screen, as movie audiences tensed between Emma and Charlie’s interactions, then sighed at any of Charlie’s misspoken words toward Emma. Many also quickly grew annoyed by all these flawed characters’ actions, especially Rachel’s ‘pick-me’ personality toward Emma, as she continuously insists, “How can you even trust her?” The cast’s ability to elicit high irritation in me toward their characters is only a testament to their brilliant performances.
I particularly adored the acting of both Zendaya and her 15-year-old younger counterpart, played by Jordyn Curet; seeing the build-up from nerves to anger through different scenes in both their faces made no doubt that they were the same person. It also raised the question of whether Emma’s character had truly changed from when she was younger, as her anxieties continue into her adulthood. The almost-dating montage of Charlie and Emma’s younger selves walking through the city of Boston made me want to throw up at the same time, emphasising Charlie’s inability to rid the thought of Emma’s past mistakes, and nearly sympathising with how young and (arguably) innocent she was.
While the two are a cute couple from the get-go, the relationship felt like it was missing a certain je ne sais quoi, despite the film’s flashbacks to their first meeting as a cafe meet-cute, their first kiss in the darkness of the fictional Cambridge Art Museum, and their lustful nights spent together. It was no shock that their relationship quickly fell to self-destruction and distrust—sparking suspicion from the audience too—due to this lack of connection between them. It’s ironic given how much talking they do in this film, but we are still missing a connection despite their communication.
Overall, it was interesting that there was neither romanticisation nor overt critical commentary on the American system’s ruling on guns, as it instead raises questions about how one is supposed to judge an individual’s morals or their past if they are now reformed.
Because what does it mean to be human, if not flawed?
Photo by Jeremy Wong Weddings on Unsplash.