The Debut ★★★★

Released: 15 January 2027

Director: Jesse Eisenberg

Starring: Julianne Moore, Paul Giamatti

Jesse Eisenberg continues to establish himself as a filmmaker to watch with The Debut, a quirky comedy-drama that sees Julianne Moore (Crazy, Stupid, Love.) deliver a performance that will put her firmly in the awards conversation. Moore plays Mona Friedman, a shy, overlooked housewife who unexpectedly lands a small role in her local community theatre production, only to become increasingly consumed by the part as she pushes herself to new extremes. With its unusual sense of humour and affection for amateur dramatics, the film offers a fresh take on self-discovery. While its increasingly bold approach in the second half may not work for everyone, The Debut is another strong outing from Eisenberg with plenty of unique flair.

Moore is undoubtedly the film’s biggest asset, delivering a performance that showcases just how effortlessly she can transform herself to suit a role. As Mona, she captures the character’s initial shyness and lack of confidence before gradually revealing a much more intense side as her newfound passion takes hold. Balancing awkward comedy with increasingly unhinged behaviour, she handles both with remarkable ease, finding humour in Mona’s peculiar decisions without losing sight of the woman underneath them. Eisenberg has already demonstrated his ability to get the best out of his actors, with Kieran Culkin winning an Academy Award in 2025 for A Real Pain, and this is another impressive example of that talent. Paul Giamatti (The Holdovers) is also excellent here as the demanding theatre director Jerry, while the wider ensemble brings plenty of personality to the local theatre group.

There’s a great deal of affection behind The Debut, as it celebrates the people who pour their hearts into community theatre. It’s particularly lovely to see an older woman like Mona push herself out of her comfort zone to pursue a long-neglected dream, giving the story a compelling emotional core as she begins to realise she’s capable of more than she imagined. The comedy is equally effective, with the film finding laughs in the absurdity of its characters and their dedication to the stage. There’s a lot of joy in watching the group come together, and their collective enthusiasm makes their production something worth rooting for. It’s a lovely reminder that finding a creative outlet can give someone a renewed sense of purpose, regardless of their age or circumstances.

However, The Debut becomes a rather different beast as it progresses, with its second half taking Mona’s commitment to acting into increasingly unsettling territory. There’s a Black Swan-esque quality to the way she begins losing herself in her character, as the boundaries between performance and reality become harder to distinguish. It’s a bold direction for Eisenberg to take, but the shift doesn’t always feel seamless, occasionally clashing with the more grounded story established earlier on. While watching Mona become so consumed by her role is fascinating, the increasingly extreme developments don’t always land as effectively as they could. Nevertheless, the film’s willingness to take risks rather than settle for a straightforward, feel-good story about pursuing a passion is admirable. Even when this approach doesn’t completely pay off, it gives the film an unpredictability that sets it apart from more run-of-the-mill comedies.

To summarise, The Debut is a strong and distinctive film, elevated by Moore’s terrific performance and a willingness to embrace the unexpected. Although the latter half doesn’t entirely come together, there’s plenty to appreciate in Eisenberg’s offbeat approach and the film’s celebration of pursuing a dream later in life. A little more consistency in its final stages might have made it an even greater success, but The Debut remains a memorable piece of filmmaking that delivers far more than a conventional comedy about community theatre.