Late Fame ★★★★

Released: 4 September 2026

Director: Kent Jones

Starring: Willem Dafoe, Greta Lee, Edmund Donovan

Willem Dafoe has made a name for himself as a chameleonic character actor, often in supporting roles. In director Kent Jones’ Late Fame he proves that he is far from just a bit-part actor, as Ed Saxberger an ageing post office worker in Manhattan who found a brief period of fame in his younger years as a Bohemian poet. He had at one point fancied himself following the trajectory of the Beat Poets.

His life takes a turn when a group of young University students and creative types recognise him for his work, starting a period of renewed interest and bringing a sense of energy to Ed’s conventional life.

Ed quickly begins writing again, flattered by the interest of the group, particularly the flirtatious actress Gloria (Greta Lee). Gloria herself is a larger-than-life character, the life and soul of the party, captivating Ed. The chemistry between Dafoe and Lee is one of the film’s real delights, seeing two actors of their calibre bouncing off one another, the more reserved elder statesman drawn to the vibrancy of Gloria. Gloria offers him something missing in his life, a reminder of how mundane his life has become. Greta Lee launches herself into a role that couldn’t be further from the likes of Past Lives or The Morning Show. It is a reminder of her range, and she clearly revels in acting opposite Dafoe.

Late Fame is a meditative look at the pros and pitfalls of fame at various stages in life. Ed’s later reintroduction to a wider audience changes his take on his own existence and what might have been. Dafoe is perfectly cast here as someone who starts reserved, buying more into his own aura and hype as the film progresses; the gradual shift is perfectly calculated.

This feels like a perfect Manhattan movie with so much of it taking place in clubs and venues across the city. It captures the generational divide and how the city’s cliques have evolved, with the city acting as a backdrop to Ed’s shifting attitudes towards fame and his own work.

Kent Jones keeps what could be a dry, overly contemplative film engaging, anchored through a tremendous lead performance from Willem Dafoe and fine foil in Greta Lee. It is a biting commentary on fads and the briefness of fame, both its pitfalls and positives. While Kent Jones has flirted with feature filmmaking he proves he is a dab hand here, also capable of fine documentary filmmaking.