In Kristoffer Borgli’s international breakout Sick of Myself, a woman becomes jealous of her boyfriend’s sudden art-world fame, so she fakes a disfiguring medical condition to one-up the attention he’s been getting online. In the funniest scene, she worries that her CT scan results at the hospital will expose this fraud, imagining an official medical diagnosis that she is “a liar” with “a bad personality,” which is legally punishable by death. Borgli’s first American film, Dream Scenario, follows the foibles of a schlubby college professor who becomes a living meme when he inexplicably starts appearing in people’s dreams across the world, a phenomenon that quickly sours once the novelty wears off and everyone’s sick of seeing his uninvited face. Borgli’s latest, The Drama, smartly continues the understated fantasy-sequence playfulness of those two previous pictures, often illustrating its characters’ intrusive thoughts as they occur in real time, then doubling back to show those characters as they actually are: unremarkable in their social anguish. Like Borgli’s previous films, The Drama also presents an absurd scenario that can easily be read as a moving think-piece on the nature of “cancel culture” but somehow never fully tips into reactionary apologia. His flippant engagement with hot-button topics in the “cancel culture” era teeter dangerously close to a kind of online edgelord conservatism but, so far, he’s always landed somewhere on the safe side of good taste. His interest appears to be on exploring the ways that our internal thoughts, however momentary, might betray our external politics, and he finds an endless wealth of humor in that tension.

The Drama starts with a young couple’s fairy-tale love story, sprinting through the full romcom meet-cute, first-date, romantic-proposal cycle in rapid montage. Borgli very quickly maps out what a crowd-pleaser romance between stars Robert Pattinson & Zendaya might look like if Hollywood was still interested in producing such a thing before he announces the stakes of his latest prank. Days before the couple’s wedding, they engage in a dinner-party game where everyone at the table confesses the worst thing they’ve ever done. It’s an uneasy but revelatory ritual that pushes through some of the awkward shame of the “getting to know you” phase in a young romance, until Zendaya’s character gets her turn. Her confession crosses an invisible social boundary that she doesn’t realize exists until it’s too late, and everyone else present is so shocked that it threatens to derail the wedding they’re supposed to be celebrating. Notably, what she confesses is technically a thought crime, an ugly impulse that she did not ultimately act on but very seriously considered. It’s also something I won’t dare to spoil in this review, since it is the bait on the film’s proverbial hook, something that is meant to be discovered and digested in real time with the bride-to-be’s immediate social circle. All I can say, really, is that this first-act reveal positions The Drama as a throwback to a kind of classic water cooler romcom, however bleak, with certified movie stars on their worst behavior. You’re supposed to ask yourself how you would react to it while you watch Robert Pattinson go through the same hypothetical turmoil, and you’re supposed to find your own sense of morality lacking in the process.

There’s plenty of ammunition here for the offended to dismiss Borgli as a shock-value provocateur, but I don’t think that’s the case. Once you get past the initial shock of its first-act confession, The Drama finds some genuinely productive provocation is asking how much modern outrage is personal, as opposed to communal. This is not a typical “How much can you truly know a person?” thought exercise. It instead asks whether modern moral outrage is driven less by the thought, “Am I okay with this?” than it is by the thought, “What would other people think of me if I were okay with this?” Very little of the central conflict is mediated through phone & computer screens like in Borgli’s previous pictures, but it still feels like it’s depicting a moral crisis specific to a post-social media world. Pattinson’s protagonist is not allowed time to internally process what he’s learned about his fiancée’s past; he’s pressured to immediately take a moral stance on it as a kind of performative social spectacle, causing great anxiety as he attempts to keep his shit together for the ultimate social spectacle: an expensive wedding. The pressure of publicly responding to this moral crisis makes for great comedic tension as the wedding deadline approaches, and it inspires anxious daydreams & nightmares that recall the low-level surrealism of Borgli’s previous works. It’s neither his meanest nor his most expressive film to date, but it does manage to throttle its audience with various social & moral crises while most of its imagery ultimately amounts to People Talking in Rooms — an increasingly rare feat at the American cineplex.

-Brandon Ledet