---
title: "Late Fame"
year: 2026
kind: "film"
canonical: "https://film.one/film/late-fame"
fi1m_id: "late-fame"
imdb_id: "tt32298494"
tmdb_id: 1285895
wikidata_id: "Q125808089"
fi1m_score: 78
critics_score: 75
critics_reviews: 15
published: "2026-09-14"
updated: "2026-09-18T08:38:23.073004+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Late Fame (2026)

Directed by Kent Jones · 1h 37m · MPA NR · Drama

## Identity

Late Fame

- **Canonical:** https://film.one/film/late-fame
- **Type:** Film
- **Fi1m ID:** late-fame
- **IMDb ID:** tt32298494
- **TMDB ID:** 1285895
- **Wikidata ID:** Q125808089
- **Same entity:** https://www.imdb.com/title/tt32298494/, https://www.themoviedb.org/movie/1285895, https://www.wikidata.org/wiki/Q125808089

**Fi1m score: 78** · Critics 75 from 15 reviews

*In a sentence:* Willem Dafoe makes being adopted by literary nuisances look almost worth the trouble

> Willem Dafoe gives this gentle drama about a rediscovered poet a warmth its younger characters do not always earn. We recommend it for the performances, with patience required for the mildness of its literary satire.

## Synopsis

In contemporary New York, Ed Saxberger (Willem Dafoe), an ageing poet whose writing has slipped from notice, finds an audience among a younger crowd of aspiring artists. Their interest draws him into literary company and back towards a part of his life he has left behind. Among the people he encounters is Gloria (Greta Lee), an actress whose theatrical manner differs from Ed’s reserve. As the group offers him recognition, Ed begins to reconsider his place among writers who want to be noticed themselves, and what it might mean to think of himself as a poet again.

## Review

Kent Jones’s *Late Fame* is a good, gentle drama with a performance from Willem Dafoe that makes its modest stakes matter. Ed Saxberger is an ageing poet whose rediscovery by younger writers offers him another chance to be noticed. The question is how much he needs that attention, and how readily he will accept the company that brings it. Jones and screenwriter Samy Burch understand the temptation, though their kindness sometimes lets the younger admirers off with being amusingly pretentious.

Dafoe gives Ed enough reserve for his pleasure at this recognition to feel earned. There is no need to make the man helpless or saintly, and Dafoe avoids both. We were moved by his response to the younger crowd’s admiration, because he makes the wish to be taken seriously so ordinary and so difficult to resist. The performance gives us reason to care about Ed before we have formed any opinion about his poetry. That is essential to a story whose audience may have limited patience for literary self-importance.

Greta Lee’s Gloria, an actress, supplies a more conspicuous kind of self-presentation. Her theatricality is funny alongside Dafoe’s composure, but Lee makes the effort of being memorable seem tiring as well as faintly ridiculous. She gives Jones’s sympathy something to work on: Gloria can be tiresome without becoming a disposable joke. The trouble comes with the younger artists around them, who are too often defined by their wish to be artists. Burch finds their affectations more readily than their differences.

Wyatt Garfield’s cinematography gives lower Manhattan enough character to make the film’s attachment to it understandable. We can believe that this place helps keep an idea of the literary life alive. Tommaso Ortino’s production design supports that feeling of an artistic circle attached to the past, though the nostalgia itself goes largely unexamined. We remain unconvinced that these fading literary habits deserve quite so much affection.

At 97 minutes, the film is hardly an ordeal, but its easy pace sometimes becomes an excuse to linger over familiar behaviour. Mike Selemon’s editing gives Dafoe’s performance room to develop, while doing less for the thinner supporting parts. Don Fleming’s music is well judged for a drama on this scale, though the actors supply its most affecting moments. The two leads make spending time with these people considerably easier.

Jones is attempting something harder than laughing at people who talk about writing. He wants us to understand why recognition appeals even to people who know its limits, and why calling oneself an artist can become a way of belonging. The film is perceptive about Ed’s susceptibility and less precise about what the younger group wants from him. Its generosity works whenever Dafoe or Lee gives it a recognisable human need; elsewhere, we wanted Burch to press a little harder.

Among dramas about artists, *Late Fame* has the sense not to require us to certify its central figure as a genius. Ed’s wish to matter is sufficient, and Dafoe makes it feel like something we might recognise in ourselves. That keeps the film worth an evening even when the satire settles for a fond smile. Give it an evening when two fine performances will be enough.

*Fi1m score 78, published 14 September 2026.*

## What the critics say

Most critics respond warmly to Late Fame, praising its tenderness towards artistic ambition, self-delusion and the wish to be recognised. Willem Dafoe’s restrained performance as a rediscovered poet draws the most consistent praise, while Greta Lee’s theatrical energy provides a contrast that several reviews particularly enjoy. Kent Jones’s gentle, observant direction also wins approval for finding humour in New York’s literary circles without treating the people in them with contempt.

The main disagreement concerns whether that gentleness leaves the drama short of bite. Some otherwise favourable reviews note narrative stumbles, thinly drawn young artists or insufficient tension; Time Out finds the film reluctant to commit to its tragic, comic or feel-good possibilities. The spread extends from strong enthusiasm to outright disappointment: Little White Lies finds the dialogue unilluminating and the nostalgia grating, rejecting the fondness that most critics regard as a strength.

## Straight answers

**Is Late Fame worth watching?**

*Late Fame* is worth watching for two fine performances in a gentle drama about an ageing poet rediscovered by younger admirers, and we scored it 78. Willem Dafoe gives Ed Saxberger's wish to be taken seriously an ordinary, hard-to-resist quality, and Greta Lee is funny and tiring in the right proportions. Its literary satire is mild and the younger characters are thinly drawn, so it suits patient viewers rather than anyone wanting sharpness.

**How long is Late Fame, and what is it rated?**

*Late Fame* runs 1h 37m and is rated NR by the MPA in the US. It is a drama film.

**Where can I watch Late Fame in the US?**

*Late Fame* is available to buy from Amazon Prime Video from $14.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Late Fame, and is it suitable for children?**

*Late Fame* is a quiet drama with no violence or frightening material that we noted, and it carries a UK 15 certificate. It concerns an ageing poet, a group of aspiring artists and a good deal of talk about writing, which is more likely to bore children than upset them. Its adult certificate reflects mature themes and language rather than anything alarming, so it suits older teenagers and adults.

**How does Late Fame compare to Poetry?**

*Late Fame* is the gentler and slighter of the two, a fond study of an ageing poet enjoying renewed attention, while [*Poetry*](https://film.one/film/poetry) is a more troubling drama about a grandmother learning to write as illness and her grandson's wrongdoing close in. Lee Chang-dong's film asks more of its audience and rewards it more deeply. Choose *Late Fame* for warmth and Dafoe; choose *Poetry* for something that stays with you.

**What should I watch after Late Fame?**

After *Late Fame*, try [*Poetry*](https://film.one/film/poetry) (2010, Fi1m 87): A more troubling examination of what writing can offer an older life. Then [*Wild Strawberries*](https://film.one/film/wild-strawberries) (1957, Fi1m 88): Ageing and recognition receive a sterner examination, with room for tenderness; and [*The Station Agent*](https://film.one/film/the-station-agent) (2003, Fi1m 82): Another quiet character study that understands the inconvenience of finding company.

### Reviews we read (25)

- **The New Yorker**, Justin Chang (85/100, inferred): The critic finds the drama exquisitely wry and melancholic, with Jones turning characters’ foibles and pretensions into acts of tenderness. He singles out Dafoe’s finest performance in years for its trek from bliss to disillusionment and odd contentment. [Read](https://www.newyorker.com/culture/the-current-cinema/tony-late-fame-and-the-rocky-road-to-literary-stardom)
- **The AV Club**, Tim Grierson (B+): The critic finds it a tender, bittersweet drama led by Dafoe's tender performance, praising its exploration of self-delusion, generational divides, and the desire for recognition, though noting some narrative stumbles. [Read](https://www.avclub.com/late-fame-review)
- **Empire**, Emily Maskell (80/100, inferred): The critic praises the film as a low-key but moving intergenerational portrait of ambitious writers in contemporary New York. Dafoe’s grounded performance is highlighted as a compelling treat that clashes effectively with Greta Lee’s theatricality. [Read](https://www.empireonline.com/movies/reviews/late-fame/)
- **Radio Times**, Tom Dawson (4/5): This observant character study, transposed to contemporary New York, treats its characters with compassion and features impressive performances, especially from Willem Dafoe as the rediscovered poet. It notes the amusing pretensions of the young aesthetes without dismissing their nostalgia. [Read](https://www.radiotimes.com/movies/late-fame-willem-dafoe-review/)
- **The Guardian**, Peter Bradshaw (80/100, inferred): The critic praises this elegant, smart and literate adaptation as a tonic with marvellous tenderness and generosity, highlighting Willem Dafoe’s intelligent and self-possessed performance as the ageing poet. [Read](https://www.theguardian.com/film/2026/sep/02/late-fame-review-willem-dafoe)
- **Variety**, Owen Gleiberman (80/100, inferred): The critic finds the film lyrical and enchanting, praising Jones’s naturalistic style driven by curiosity that reveals the humanity of everyone onscreen. He singles out Dafoe’s performance as a slowly unfolding wildflower that conveys buried yearning and resilience. [Read](https://variety.com/2025/film/reviews/late-fame-review-willem-dafoe-1236502775/)
- **Los Angeles Times**, Gary Goldstein (75/100, inferred): The critic calls the film often first-rate for its wisdom and depth on aging, dashed dreams, and the magic of rediscovery, plus a deliciously ironic final twist. He singles out the superb cast managed with aplomb and the cinematographer’s evocative capture of lower Manhattan. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-08-14/late-fame-review-forgotten-poet-gets-taste-of-recognition)
- **The Observer**, Wendy Ide (75/100, inferred): The review calls the film a supremely elegant adaptation and character study that captures the faded soul of New York’s art scene, praising the nuanced performances especially from Willem Dafoe and Greta Lee. [Read](https://observer.co.uk/culture/film/article/in-late-fame-new-yorks-art-scene-is-a-faded-glory)
- **Financial Times**, Danny Leigh (70/100, inferred): The critic finds the film funny and genial with a cool astringency, boosted by strong performances from Willem Dafoe and Greta Lee, noting its wry take on fleeting moments and talent. [Read](https://www.ft.com/content/03b105ef-d8d2-4198-917c-d046cc8d7059)
- **Time Out**, Anna Smith (3/5): The film toys with tragic, comic and feel-good modes but declines to commit fully, delivering an unsentimental story anchored by Willem Dafoe’s lived-in performance. It drifts toward a graceful conclusion while studying its pretentious characters largely without judgment. [Read](https://www.timeout.com/movies/late-fame-review-2026)
- **Little White Lies**, Hannah Strong (35/100, inferred): Kent Jones’ comedy about a rediscovered poet talks a lot but doesn’t say anything new or compelling. It criticizes the script’s lack of bite compared to May December and finds the nostalgic downtown New York gaze grating and underdeveloped, especially in its treatment of characters. [Read](https://lwlies.com/venice-film-festival/late-fame-first-look-review)
- **Film Comment**, Molly Haskell: The critic highlights Willem Dafoe's thoughtful, heartfelt performance at the center of this melancholy adaptation of an Arthur Schnitzler novella. It praises the film's sharp observations on bohemian poseurs and its cathartic ending. [Read](https://www.filmcomment.com/blog/the-aging-artist-jay-kelly-noah-baumbach-is-this-thing-on-bradley-cooper-late-fame-kent-jones-review/)
- **IndieWire**, Vikram Murthi: The critic describes it as a perceptive urban drama, noting how the update of the novella allows for an insightful look at a former poet falling in with a young crowd and the dynamics that ensue. [Read](https://www.indiewire.com/criticism/movies/late-fame-review-1235148273/)
- **Screen Daily**: Kent Jones’s second feature is a perceptive, lightfooted drama examining the thin line between creative aspiration and pretentious poseurdom, with strong turns from Willem Dafoe and especially Greta Lee, who steals scenes as the eccentric actress Gloria. [Read](https://www.screendaily.com/reviews/late-fame-review-greta-lee-and-willem-dafoe-shine-in-pleasing-new-york-story/5208268.article)
- **Sight and Sound**: Kent Jones’s playful drama pokes gentle fun at New York literary circles old and new in a poetic meditation on the transience of fame. It highlights Dafoe’s perfect performance and the film’s compassionate, generous view of its anachronistic characters. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/late-fame-kent-joness-playful-drama-pokes-gentle-fun-new-york-literary-circles-old-new)
- **Slant Magazine**, Marshall Shaffer: The critic finds the film amiable but notes it pulls its punches, praising Dafoe's graceful performance and the sincere direction while criticizing the limited perspective on characters and lack of stronger dramatic tension. [Read](https://www.slantmagazine.com/film/late-fame-review-willem-dafoe-greta-lee/)
- **The Hollywood Reporter**, Sheri Linden: The critic calls the film understated and sharp, praising Dafoe's conflicted yet perfect performance as the rediscovered poet and the screenplay's exploration of notoriety and identity through graceful notes and character interactions. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/late-fame-review-willem-dafoe-greta-lee-1236350399/)
- **The New York Times**, Alissa Wilkinson (Critic’s Pick): The critic praises the film's wise and fond understanding of why some people want to become artists without making much art and why others quit. She singles out Jones’s light, confident, naturalistic direction and grasp of the Greenwich Village milieu. [Read](https://www.nytimes.com/2026/08/06/movies/late-fame-review.html)
- **Vulture**: The critic lauds Dafoe and Lee's performances and the enchanting premise but notes the film stumbles with cartoonish treatment of the young artists and feels less assured overall. [Read](https://www.vulture.com/article/review-willem-dafoe-and-greta-lee-are-so-good-in-late-fame.html)
- **The Playlist**, Rodrigo Perez (A-): The film is a wry, clever, and thoughtful low-key portrait of modest fame and artistic validation. It singles out Willem Dafoe's delicate performance and the sly screenplay's handling of ego, class, and pretension in contemporary New York. [Read](https://theplaylist.net/late-fame-review-willem-dafoe-greta-lee-kent-jones-20260813/)
- **Deadline**, Pete Hammond (85/100, inferred): The critic calls it a gem about discovery and rediscovery, praising the superb performances of Willem Dafoe and Greta Lee along with the witty, biting screenplay that treats its characters with humanity and grace rather than satire. [Read](https://deadline.com/2026/08/late-fame-review-willem-dafoe-and-greta-lee-superb-in-wonderful-indie-film-about-art-and-rediscovery-in-a-new-york-long-gone-1237016538/)
- **Eye for Film**, Anne-Katrin Titze (80/100, inferred): Burch and Jones update the story to the present without falling into cliché, giving Dafoe and especially Greta Lee opportunities to show new sides of their acting. Greta Lee's performance of the Brecht/Weill song forms the disquieting core of this precise, layered film. [Read](https://www.eyeforfilm.co.uk/review/late-fame-2025-film-review-by-anne-katrin-titze)
- **The Wrap** (75/100, inferred): The review portrays it as a loving low-key farce that skewers and sympathizes with its characters in equal measure, highlighting Willem Dafoe's nuanced performance and the director's layered, non-cynical approach to themes of artistic legacy and class. [Read](https://www.thewrap.com/late-fame-review-willem-dafoe/)
- **NME**, Jordan Bassett: The critic describes the film as poignant but slightly unsatisfying, an elegy for old New York that fails to fully land its themes. Willem Dafoe's spellbinding performance as the rediscovered poet is singled out for strong praise. [Read](https://www.nme.com/reviews/film-reviews/late-fame-review-willem-dafoe-greta-lee-3966604)
- **Paste**, Jesse Hassenger (5.8): The film is a predictable, mild satire of New York artistic circles that lacks sharp danger or deep character development, feeling like a lesser late-period Woody Allen dramedy. Dafoe's lead performance is convincingly modest and central, but even he cannot fully overcome the broad arcs and uneven supporting elements. [Read](https://www.pastemagazine.com/movies/kent-jones/late-fame-nyff-review-willem-dafoe-kent-jones-greta-lee)

## Details

- **Director:** Kent Jones
- **Director:** Kent Jones
- **Writer:** Samy Burch
- **Cinematography:** Wyatt Garfield
- **Editor:** Mike Selemon
- **Music:** Don Fleming
- **Production design:** Tommaso Ortino
- **Costume design:** Carisa Kelly
- **Producer:** Christine Vachon, Pamela Koffler, Mason Plotts
- **Cast:** Willem Dafoe as Ed Saxberger; Greta Lee as Gloria; Edmund Donovan as Meyers; Clay Singer as Brussard; Arthur Langlie as Carmichael; Graham Campbell as Sherfey; Luca Padovan as Winn; Jake Lacy as Literary Agent
- **Runtime:** 1h 37m
- **Certificate (MPA):** NR
- **Release (the US):** 7 August 2026
- **Genres:** Drama
- **Trailer:** https://www.youtube.com/watch?v=_qkhd73DE3E

## Where to watch in the US

- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-14.*

Also available in: US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Starting Out in the Evening* (2007): Another older writer discovers how unsettling a young admirer’s attention can be
- *Poetry* (2010), Fi1m 87: A more troubling examination of what writing can offer an older life — [Fi1m page](https://film.one/film/poetry.md)
- *Wild Strawberries* (1957), Fi1m 88: Ageing and recognition receive a sterner examination, with room for tenderness — [Fi1m page](https://film.one/film/wild-strawberries.md)
- *The Disciple* (2020): For a less forgiving account of artistic ambition and the need for approval
- *The Station Agent* (2003), Fi1m 82: Another quiet character study that understands the inconvenience of finding company — [Fi1m page](https://film.one/film/the-station-agent.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/late-fame