Walking into a Kristoffer Borgli film is always an adventure. That journey doesn’t always lead to satisfying results, but it’s almost guaranteed to be a wild one. His 2023 film Dream Scenario leaned more on intrigue than execution, ultimately culminating in an unsatisfying cinematic experience. So when I discovered that Robert Pattinson and Zendaya’s first collaboration of 2026, The Drama, was directed by Borgli, my mind immediately went to that Joker GIF that runs rampant online: “And here we go.”
Set to be one of the year’s most divisive films, The Drama asks how much you’re willing to accept about the person closest to you, while quietly reflecting parts of today’s American landscape. What some may take issue with, I found handled in a way that feels surprisingly controlled and effective.
The Drama follows Charlie’s relationship, one that feels ripped straight out of a romantic comedy from another era. With their wedding just days away, everything seems to be falling into place, with the only real stress being finalizing their vows. But during a night with their closest friends, Mike and Rachel, a conversation about past mistakes takes a turn. What starts off light quickly shifts, and when Emma shares her story, it sends everything into a spiral. Tensions rise as Charlie searches for answers, and what once felt certain, what should have been the greatest day of his life, begins to unravel into something far more chaotic.
Borgli’s direction and screenplay offer a fresh lens on how individuals react to the central revelation, but it begins to lose steam in the third act, feeling stuck in a repetitive loop of the same ideas. Where the script works best is in its examination of how much is too much when it comes to what we learn about someone, and when that line is crossed for good. Trimming some of that monotony would have gone a long way.
Zendaya and Robert Pattinson, as expected, are exceptional. Their chemistry is undeniable, and knowing they have two more releases together in 2026 makes this feel like a delicious appetizer. While the screenplay sells them short at times, there’s no denying the duo rises above those limitations, even if the character motivations don’t always fully track. Alana Haim and Mamoudou Athie provide a strong balance, grounding the chaos while also leaning into the film’s more heightened moments in ways that complement the leads.
At its core, The Drama is an ambitious swing at blending the familiarity of a romantic comedy with the discomfort of a character-driven drama, and while that balance doesn’t always land, it’s hard not to admire the attempt. There are moments where the tonal shifts feel at odds with one another, where the film seems unsure of whether it wants to lean into its heightened absurdity or ground itself in something more emotionally raw. That push and pull is where some of the film’s frustrations begin to show, particularly as it starts to circle the same ideas without deepening them. And yet, even in those moments, Borgli keeps you engaged, forcing you to sit with questions that don’t have easy answers.
Despite its flaws, The Drama is the kind of film that lingers. It may not fully stick the landing, but its willingness to challenge its characters, and by extension the audience, makes it a worthwhile ride. Anchored by two compelling performances and a premise that sparks conversation long after the credits roll, Borgli delivers a film that may divide audiences, but never feels disposable. It’s messy, frustrating at times, but undeniably interesting, and sometimes, that’s more than enough.
