The Debut, 2026.
Directed by Jesse Eisenberg.
Starring Julianne Moore, Paul Giamatti, Halle Bailey, Bonnie Milligan, Lillie Cooper, Colton Ryan, K. Todd Freeman, Eldar Isgandarov, Susan Blommaert, Maulik Pancholy, Jared Loftin, Megumi Nakamura, Havana Rose Liu, Patrick Fabian, Cara Buono, Jonah Diamond, Becca Suskauer, Jesse Eisenberg and Bernadette Peters.
SYNOPSIS
When an unassuming housewife is unexpectedly cast in a community theater production, she loses herself in the role under the spell of a strong-willed director.
So often when a film comes out about a group of community theatre performers coming together with one of the stars discovering their confidence and voice along the way it is treated as a triumphant, joyous, truth to power evolution for the character and their ensemble. That is not quite the case here as Jesse Eisenberg hilariously flips that on its head in The Debut with Julianne Moore delivering not only laugh after laugh but one of the best performances of her career.
Moore stars as Mona, a timid middle-aged housewife who is bored of her routine and auditions for a community play only to unexpectedly get the role (more because she was the only other person to audition for that specific role after the chosen star dropped out rather than actual talent). As she interacts with the cast and works with the director, played by the great Paul Giamatti, her confidence begins soaring to the point she comically causes problems in the play and her own life.
Moore absolutely steals every scene she’s in, chewing up every monologue, rant and near mental breakdown Mona goes through. The gradual build up from her initial timidness to her outspoken and rather unique manner of method acting is not overdone as Moore’s performance and Eisenberg’s script allow the growth to naturally happen from one insane step to the next. There’s an earnestness to Mona that makes you both root for and cringe at her as her escapades escalate and Moore’s comedic handling is excellent whether its through Mona’s vocal range or the almost slapstick approach she takes to the physical comedy.
Her and Giamatti make a great duo as Giamatti portrays the play’s overly serious yet also eccentric director who tries breaking Mona out of her shell. Their back-and-forth provide many of the film’s most memorable moments, especially when Giamatti expresses his irritation in a way only Giamatti can, yet also lowers his guard to show more of his vulnerability and passion to get the best out of his actors. The supporting cast all do well in their roles, particularly Halle Bailey as the play’s young lead and Eldar Isgandarov as a stage assistant. The blend of musical theatre in the story gives Bailey and others a chance to show off their vocal skills with Bailey obviously being a clear standout given her past roles in musicals, but Moore displays quite a confident and talented voice in her single number.
The Debut is hilarious with a well written and snappy script from Eisenberg and a great performance from Moore. She knocks it out of the park with her comedic timing and display of Mona’s growth while Giamatti makes his own mark as the frustrated director. It is an earnest homage to the theatre, musicals and local actors while poking fun at how extreme some forms of method acting can be taken.
Flickering Myth Rating – Film: ★ ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★
Ricky Church
