Ever since the first photographs from the set of Asymmetry appeared online, one comparison has dominated social media: “Is this the new Pretty Woman?”
The answer, in my opinion, is simple. No. And I believe comparing these two films does a disservice to both.
The only similarity is the age difference
At first glance, some people immediately noticed what seemed to be a familiar dynamic: Richard Gere sharing the screen with a much younger actress.
In Pretty Woman (1990), Gere played Edward Lewis opposite Julia Roberts’ Vivian Ward. Today, in Asymmetry, he stars alongside Diana Silvers, who plays Alice, a young editorial assistant, while Gere portrays Ezra, an internationally acclaimed novelist.
Yes, there is an age gap between the protagonists, but that is where the similarities largely end.
A completely different story
Unlike Pretty Woman, which blended romance, comedy and modern fairy-tale elements, Asymmetry is based on Lisa Halliday’s critically acclaimed novel, a sophisticated literary work that explores emotional imbalance, power dynamics, identity, creativity and the complexity of human relationships. The story follows Alice and Ezra as they begin a secret relationship that gradually transforms both of their lives.
This is not a modern Cinderella story. It is a thoughtful character study that invites audiences to ask difficult questions rather than offering easy answers.
The social media debate
As soon as the first behind-the-scenes videos and photographs were published, social media quickly became divided. Some fans are excited to see Richard Gere returning to a romantic leading role, believing his elegance and emotional depth make him the perfect choice for Ezra.
Others have been far more critical. Some argue that casting an older man opposite a much younger woman sends the wrong message.
Others have gone even further, suggesting that stories involving significant age differences should no longer be told at all, with a few commenters drawing inappropriate comparisons to real-life scandals that have nothing to do with the novel or its fictional characters.
Reading these reactions has made me reflect on a broader issue.
Fiction should never be confused with Elendorsement
Cinema has always explored complicated relationships. It tells stories about love, betrayal, obsession, ambition, addiction, injustice and moral conflict.
That does not mean it celebrates every choice made by its characters.
An actor portraying a controversial role is not endorsing that character’s behavior. A filmmaker adapting a challenging novel is not asking audiences to agree with everything they see.
Art exists to explore the full complexity of the human experience. Sometimes that means making us uncomfortable. Sometimes it means confronting ideas that divide opinion.
Richard Gere has always chosen challenging roles
One of the reasons I have admired Richard Gere throughout his career is precisely because he has never been afraid of complexity.nWhether playing flawed businessmen, conflicted husbands, journalists, lawyers or dreamers, he has consistently sought characters with emotional depth rather than predictable heroes.
Ezra appears to be another example of that artistic courage. He is not simply “an older man in love.”
He is a celebrated writer whose life becomes intertwined with that of a young woman at a very different stage of her journey. That emotional asymmetry is exactly what the novel—and now the film—invites us to explore.
Let’s watch the film before judging it
Personally, I believe we should resist the temptation to judge Asymmetry based on a few photographs from the set or short video clips circulating online. A film deserves to be experienced as a whole.
Only after seeing the performances, understanding the characters and following the complete story can we honestly discuss its message.
Perhaps some viewers will love it.
Others may dislike it.
That is the beauty of cinema.
Every audience member has the freedom to form an independent opinion.
Why I am looking forward to Asymmetry
As someone who has admired Richard Gere for many years, I am genuinely excited about this project.
Not because I expect another Pretty Woman—that film is unique and belongs to its own time—but because I am eager to see Richard Gere embrace a completely different challenge at this stage of his remarkable career.
Every great actor evolves. Every meaningful story deserves the opportunity to be told. And every viewer deserves the freedom to decide what they think after the curtain rises—not before.
