There’s a delicious irony at the heart of "The Debut," Jesse Eisenberg’s latest directorial effort which premiered to critical acclaim at the Telluride Film Festival. The film centers on a seemingly insignificant individual who approaches a bit part with the intensity of a lifetime role. This meta-narrative now finds itself a genuine contender for Best Picture, potentially catapulting Julianne Moore and Paul Giamatti into Oscar contention.
Eisenberg's film is a fever dream, described as a blend of "Black Swan" and "Whiplash" by way of Christopher Guest's "Waiting for Guffman," all staged within a faux musical and set in a New Jersey rec center. Julianne Moore portrays Mona Friedman, a meek housewife who hasn't sung publicly since her church choir days, only to be unexpectedly cast in a community theater production. She then transforms into a zealous method actor, ready to wage war over her marginal role. Paul Giamatti plays Jerry, the tyrannical director, comically billed as the biggest name in New Jersey community theater. The film masterfully transitions from funny to feral, then unexpectedly moving, solidifying Eisenberg's knack for crafting powerful acting showcases, much like his previous success with Kieran Culkin in "A Real Pain."
A24 has slated "The Debut" for a December 11 release, a strategic move by a studio known for its long game in awards season. A24 has twice defied expectations, turning "Moonlight" and "Everything Everywhere All at Once" into Best Picture champions. With "The Debut," they possess a broadly appealing contender featuring two of the most revered actors working today.
Julianne Moore, a five-time nominee with one win for "Still Alice" over a decade ago, is quickly emerging as a frontrunner for Best Actress. Her portrayal of Mona is a tragicomic tour de force that reminds voters of her unparalleled talent. Fearless and utterly committed, Moore's performance drew spontaneous applause during two separate scenes at the Telluride screening, a clear indicator of its impact. A sixth nomination appears automatic, with a second Oscar win a very real possibility, especially given the Academy's recent comfort in awarding multiple acting statuettes.
Paul Giamatti's journey is different, and perhaps sweeter, as he chases his first Oscar. Despite being one of his generation's most admired actors, his "Sideways" snub remains a notable oversight. In "The Holdovers," he lost to the "Oppenheimer" juggernaut. As Jerry, he delivers a flashier, more quotable performance: the monstrous mentor archetype that won J.K. Simmons an Oscar in "Whiplash," but with an added layer of heart. His line, "That’s where everyone wants to be… center stage," perfectly encapsulates the film's theme. Giamatti’s most winnable path appears to be in the supporting category, mirroring Culkin's success for Eisenberg two years prior.
"The Debut" is less a traditional musical and more a savage comedy about one, set within the world of an original show rather than a wall-to-wall songbook. This distinction is crucial. The film boasts impressive talent behind the scenes, with Drew Daniels of "Anora" handling cinematography and Emil Mosseri, an Oscar nominee for "Minari," composing the score. The ensemble is further enriched by Broadway veterans Bernadette Peters and Halle Bailey. Eisenberg, himself a screenplay nominee for "A Real Pain," has crafted another original story that feels much grander than its logline suggests. It combines the essence of a lighthearted Tarantino film with the DNA of "Stranger Than Fiction," arriving at Telluride with promise and leaving with potential frontrunner status.
The old theater adage, "There are no small parts, only small actors," is transformed into a compelling thesis in "The Debut," daring audiences and the Academy alike to disagree. Your move, Academy.