--- title: "The Debut" year: 2026 kind: "film" canonical: "https://film.one/film/the-debut" fi1m_id: "the-debut" imdb_id: "tt34718200" tmdb_id: 1391239 wikidata_id: "Q133885802" fi1m_score: 78 critics_score: 85 critics_reviews: 14 published: "2026-09-23T14:30:29.263841+00:00" updated: "2026-09-23T14:30:29.861069+00:00" region: "MY" 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." --- # The Debut (2026) Directed by Jesse Eisenberg · 1h 45m · Music, Comedy, Drama ## Identity The Debut - **Canonical:** https://film.one/film/the-debut - **Type:** Film - **Fi1m ID:** the-debut - **IMDb ID:** tt34718200 - **TMDB ID:** 1391239 - **Wikidata ID:** Q133885802 - **Same entity:** https://www.imdb.com/title/tt34718200/, https://www.themoviedb.org/movie/1391239, https://www.wikidata.org/wiki/Q133885802 **Fi1m score: 78** · Critics 85 from 14 reviews *In a sentence:* Julianne Moore joins the am-dram, and the am-dram, quite reasonably, starts to look frightened > Jesse Eisenberg’s comedy about a housewife who disappears into a community theatre musical is often funny and never quite sure what it is arguing. Julianne Moore is the reason to go, and she is reason enough. ## Synopsis Mona (Julianne Moore) is a housewife whose children have grown and left, and whose days have gone quiet with them. On an impulse she does not fully explain to herself, she auditions for a musical being staged by her local community theatre. The production is run by Jerry (Paul Giamatti), a director who takes amateur theatre as seriously as anyone has ever taken anything, and who expects the same of his cast. Mona gets into the company and begins to rehearse, and the part starts to matter to her more than she expected. The players and people around her include Stef (Halle Bailey), Todd (Jesse Eisenberg), Marty (K. Todd Freeman) and Serena Cherry (Bernadette Peters). What begins as a nervous woman learning her lines becomes something odder as rehearsals go on. ## Review Mona has an empty house and nothing pressing to do in it, so she auditions for a musical at her local community theatre. The director, Jerry, treats the production as if the fate of the art form depended on it. That is the whole set-up of *The Debut*, which Jesse Eisenberg wrote and directed, and it is by some distance his strangest film. It starts as a comedy about amateur theatre and becomes a film about what happens when a person gets lost inside a part. We liked it a good deal. We are less sure it knows what it thinks. Julianne Moore plays Mona, and the film lives or dies on her, so it is fortunate that she is as good here as we have seen her. She plays the timidity first, and plays it without asking for our sympathy: Mona is a woman who has spent years being easy to overlook and has come to expect it. Then the part takes hold and Moore lets it take hold completely, and the transformation is both ridiculous and, somewhere underneath, upsetting. We laughed at her more than we expected to. Then, in a scene we will not describe, we found we had stopped laughing and were simply watching her face, and were not entirely comfortable with how we had got there. Paul Giamatti’s Jerry is the other engine. He is the sort of director who exists in every amateur society in the world, the man who has read about the Method and believes it is his to dispense, and Giamatti plays him without a wink. The confrontations between Jerry and Mona are the funniest stretches of the film, partly because neither of them is joking. Around them Eisenberg has assembled a company that includes Halle Bailey, K. Todd Freeman, Colton Ryan, Bonnie Milligan and Bernadette Peters, and he gives himself a part as Todd. Eisenberg and Emile Mosseri are credited with the music, and the musical the company is rehearsing is the film’s own invention, which spares it from being a joke at any real show’s expense. The film’s most interesting decision is that it changes shape as Mona does. Drew Daniels’s camera and Robert Nassau’s cutting stay plain and unfussy while she is a nervous newcomer, and then, as the part swallows her, the film gets odder, less tethered, more willing to go somewhere surreal and stay there. It is a bold move for a comedy that could have coasted on its cast, and it is the thing that separates *The Debut* from the dozen other films about a small production going wrong. It is also where the film loses its footing. Eisenberg has two ideas about Mona. One is that acting has set her free. The other is that it has eaten her. Both are good ideas, and the film wants credit for both without choosing between them, so when it reaches for a statement about what art does to the people who take it seriously, the statement comes out muffled. The stranger passages are executed with confidence and we admired them, but by the last stretch we were not sure whether we were meant to be worried for Mona or cheering her on, and we do not think Eisenberg was sure either. The obvious comparison is *Waiting for Guffman*, and Eisenberg has plainly seen it. He is kinder than that film was. Nobody here is a fool for wanting to be in a show; the joke is never that these people are amateurs, only that they are human, and the film’s warmth towards the whole scrappy enterprise is real. Anyone who has ever stood in a draughty hall waiting for their cue will recognise every person in it. It is 105 minutes and a 15 certificate, mostly for language. Most critics have been warmer than we are, and we understand why, because Moore is doing something you do not see often. We would send you for her, and for Giamatti, and for the pleasure of a comedy that takes a risk in its second half even if it does not quite land it. If you have ever directed an amateur production yourself, you may want a seat near the exit. *Fi1m score 78, published 23 September 2026.* ## What the critics say The reviews are close to unanimous. Almost every critic calls The Debut funny, several of them exceptionally so, and nearly all of them give the same reason: Julianne Moore. Her performance as Mona, the timid housewife who auditions for a community musical, is described across the board as transformative, and more than one review credits her with holding the whole film together. Paul Giamatti’s overbearing director draws consistent praise too, particularly in his confrontations with Moore. Jesse Eisenberg, directing his third film, is credited with wit and with a stranger, more surreal streak than most critics expected. The reservations are few and mild. The Guardian finds the comedy inconsistent as it drifts into the absurd, and The Hollywood Reporter thinks the film never settles what it wants to say about artistic perfection. Nobody dislikes it. The spread runs from good to exceptional, and even the one mixed notice singles out Moore as the reason to watch. ## Straight answers **Is The Debut worth watching?** *The Debut* is worth watching for Julianne Moore, who is as good here as we have seen her, and we scored it 78. Jesse Eisenberg's comedy about a housewife swallowed by a community theatre musical is often funny and takes a real risk in its second half, though it never quite decides what it is arguing. Anyone who has stood in a draughty hall waiting for a cue will recognise every person in it. **How long is The Debut, and what is it rated?** *The Debut* runs 1h 45m. It is a music and comedy film. **Where can I watch The Debut in Malaysia?** *The Debut* is not on any streaming or rental service in Malaysia at the moment. Availability is checked daily. **How violent or frightening is The Debut, and is it suitable for children?** *The Debut* is a 15 certificate in the UK and rated R in the US, mostly for language, and it is not a film for children. There is no violence to speak of; what unsettles is Mona's transformation, which starts as comedy and turns odd and uncomfortable as the part takes hold of her. Older teenagers who can take strong language and a strange second half should be fine. **How does The Debut compare to Topsy-Turvy?** *The Debut* and [*Topsy-Turvy*](https://film.one/film/topsy-turvy) are both films about rehearsal, but Mike Leigh's is the more patient and the more finished of the two. *Topsy-Turvy* treats the preparation of *The Mikado* as the whole of life and is absorbing and unexpectedly moving; *The Debut* is funnier, stranger and less sure of its point. Choose Leigh for depth and Eisenberg for Julianne Moore and a shorter, riskier evening. **What should I watch after The Debut?** After *The Debut*, try [*Topsy-Turvy*](https://film.one/film/topsy-turvy) (1999, Fi1m 88): Mike Leigh on Gilbert and Sullivan: rehearsals as the whole of life, patiently. Then [*Drive My Car*](https://film.one/film/drive-my-car) (2021, Fi1m 88): A Chekhov production in Hiroshima; the quiet Japanese cousin of losing yourself in a part; and [*A Real Pain*](https://film.one/film/a-real-pain) (2024, Fi1m 76): Eisenberg’s previous film, smaller and sadder, with Kieran Culkin doing the damage. ### Reviews we read (14) - **Time Out**, Barry Levitt (5/5): The critic praises the film as wildly entertaining and exceptionally funny, with Eisenberg at his most accomplished as director. Julianne Moore's performance as the overlooked housewife Mona is singled out as utterly dazzling and the emotional core. [Read](https://www.timeout.com/movies/the-debut-review-2026) - **RogerEbert.com** (91/100, inferred): The critic calls it one of the best films of 2026 so far and one of the funniest, noting it asks unexpected questions about getting lost in a character. They single out Julianne Moore’s best work of her career in the role. [Read](https://www.rogerebert.com/festivals/tiff-2026-the-debut-elsinore-closing-night) - **The New York Times**, Manohla Dargis (90/100, inferred): The critic describes it as one of the most pleasurable films seen at Toronto, praising how Eisenberg and the performers coax laughs from the characters and community theater without cruelty or condescension. They single out Julianne Moore’s glorious, wide-ranging expressivity in the role. [Read](https://www.nytimes.com/2026/09/18/movies/jesse-eisenberg-toronto-international-film-festival.html) - **Vulture** (90/100, inferred): The critic hails Julianne Moore’s performance as an all-timer and explosive, turning the film into a fire-breathing encomium to the reality-altering power of acting. They single out Moore’s transcendent, hilarious transformations and the film’s playful, deceptively strange style as it breaks down and rebuilds alongside the character. [Read](https://www.vulture.com/article/julianne-moores-performance-in-the-debut-is-an-all-timer.html) - **Variety**, Owen Gleiberman (84/100, inferred): The critic calls it a funny and dizzying mind-bender like 'Waiting for Guffman' made by the Coen brothers at their most unhinged, a twisted love letter to community theater. They single out Julianne Moore’s astonishing, transformative performance as the standout element that holds the film together. [Read](https://variety.com/2026/film/reviews/the-debut-review-julianne-moore-jesse-eisenberg-1236852779/) - **IndieWire**, Cortlyn Kelly (81/100, inferred): The review highlights Julianne Moore’s shining performance in Jesse Eisenberg’s story of midlife reinvention through community theater, celebrating the small spaces that birth future stars and Paul Giamatti as the overbearing director. It praises Moore’s turn in a film that feels like a love letter to the scrappy ethos of local productions. [Read](https://www.indiewire.com/criticism/movies/the-debut-review-jesse-eisenberg-julianne-moore-1235215173/) - **Screen Daily** (81/100, inferred): The critic describes the film as a wry and sneakily bold comedy about the power of art to reshape lives. Julianne Moore's marvellously gutsy and finely calibrated performance as the timid housewife Mona is singled out as the emotional anchor that prevents the story from becoming mocking or implausible. [Read](https://www.screendaily.com/reviews/the-debut-review-a-superb-julianne-moore-takes-centre-stage-in-jesse-eisenbergs-wry-community-theatre-comedy/5220373.article) - **The AV Club**, Monica Castillo (B): The critic calls it a charming, loving satire and love letter to community theater, with Julianne Moore stealing the show as she enters the Oscar race through her delightful and ridiculous performance. They single out the ensemble chemistry, especially the riotous Moore-Giamatti confrontations, and Eisenberg’s witty take on the absurdities of performing. [Read](https://www.avclub.com/the-debut-review-julianne-moore-paul-giamatti-jesse-eisenberg) - **The Hollywood Reporter**, Angie Han (76/100, inferred): The critic finds it a frequently hilarious journey into the mind of an overly committed actor, praising the dynamite chemistry and performances of Julianne Moore and Paul Giamatti as the standout elements in Jesse Eisenberg’s offbeat theater comedy. They single out the entertaining brio and wild turns enabled by the lead duo while noting the film ultimately feels unsure what it wants to say about artistic perfection. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-debut-review-julianne-moore-paul-giamatti-1236691977/) - **The Guardian** (68/100, inferred): The critic finds the film an inconsistent oddball comedy about a repressed housewife auditioning for a community musical, with Eisenberg shifting toward surreal and absurd territory in his third directorial effort. Julianne Moore's riotous, fearless lead performance as Mona is singled out for praise as the element that holds the production together. [Read](https://www.theguardian.com/film/2026/sep/15/the-debut-review-julianne-moore) - **The Playlist**, Gregory Ellwood (A): The critic calls it a brilliant musical comedy and praises Julianne Moore's transformative, hilarious, and profound performance as Mona, along with Eisenberg's surprising auteur vision that incorporates surrealism and avant-garde elements. [Read](https://theplaylist.net/the-debut-review-julianne-moore-is-transformative-jesse-eisenbergs-brilliant-musical-comedy-telluride-20260905/) - **Collider**, Joe Schmidt (9/10): The critic calls the film the best of TIFF 2026 and a showcase for Julianne Moore's Oscar-worthy performance as an empty-nester discovering herself through community theater. Eisenberg's direction and creation of a fictional musical are praised for their wit, heart, and authentic portrayal of theater community dynamics. [Read](https://collider.com/julianne-moore-the-debut-movie-review-jesse-eisenberg/) - **Deadline**, Pete Hammond (90/100, inferred): The critic calls the film an absolute joy and complete delight, a hilarious and even sweet look at community theatre with go-for-broke comedic performances from Moore and Giamatti that deliver big laughs and some poignant moments. [Read](https://deadline.com/2026/09/the-debut-review-julianne-moore-paul-giamatti-jesse-eisenberg-1237069095/) - **The Wrap** (85/100, inferred): The piece praises Moore's transformative performance as the standout, highlighting how she gives the character breadth and depth in an autobiographical story about community theater that fires on all cylinders with laughter and fun. [Read](https://www.thewrap.com/creative-content/movies/julianne-moore-jesse-eisenberg-the-debut/) ## Details - **Director:** Jesse Eisenberg - **Director:** Jesse Eisenberg - **Writer:** Jesse Eisenberg - **Cinematography:** Drew Daniels - **Editor:** Robert Nassau - **Music:** Emile Mosseri, Jesse Eisenberg - **Production design:** Anne Ross - **Costume design:** Stacey Battat - **Producer:** Emma Stone, Dave McCary, Ali Herting - **Cast:** Julianne Moore as Mona; Paul Giamatti as Jerry; Halle Bailey as Stef; Jesse Eisenberg as Todd; K. Todd Freeman as Marty; Eldar Isgandarov as Piotr; Susan Blommaert as Sybil; Colton Ryan as Zachary - **Runtime:** 1h 45m - **First release (the US):** 5 September 2026 - **Genres:** Music, Comedy, Drama - **Trailer:** https://www.youtube.com/watch?v=clyzHmBx43E ## Where to watch in Malaysia Not streaming, renting or buying in Malaysia at the last check. ## If you liked this - *Waiting for Guffman* (1996): The amateur-theatre comedy Eisenberg is answering; sharper edges, less mercy - *Opening Night* (1977): Gena Rowlands comes apart inside a role; Cassavetes watches and does not flinch - *Topsy-Turvy* (1999), Fi1m 88: Mike Leigh on Gilbert and Sullivan: rehearsals as the whole of life, patiently — [Fi1m page](https://film.one/film/topsy-turvy.md) - *Drive My Car* (2021), Fi1m 88: A Chekhov production in Hiroshima; the quiet Japanese cousin of losing yourself in a part — [Fi1m page](https://film.one/film/drive-my-car.md) - *A Real Pain* (2024), Fi1m 76: Eisenberg’s previous film, smaller and sadder, with Kieran Culkin doing the damage — [Fi1m page](https://film.one/film/a-real-pain.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/the-debut