"Il n'est jamais trop tard pour devenir soi-même", Julianne Moore au Festival du film de Rome. Jesse Eisenberg s'attache à un rôle entre théâtre, comédie et émancipation.

Julianne Moore received a career achievement award at the 21st Rome Film Festival while promoting her latest feature, The Debut. The 65-year-old American actress, who won an Academy Award in 2017 for Still Alice, used the occasion to discuss her new role in the film directed by Jesse Eisenberg. She expressed a preference for anonymity over public attention, stating that she loves removing her makeup, wearing casual clothes, taking the subway, and shopping at supermarkets. Moore described this ordinary existence as being invisible and normal, contrasting it with the constant scrutiny of public appearances where audiences listen to her. The film, which opens in Italian cinemas on January 1 through distributors I Wonder Pictures and Unipol Biografilm Collection, is set in the 1990s. It follows Mona Friedman, a housewife from New Jersey who feels overlooked by her husband, played by Patrick Fabian, and her children, who view her primarily as a cleaner. Mona decides to audition for a local theater production centered on the eccentric residents of a dilapidated apartment building. She joins the cast of a second-tier musical where she meets Jerry, a charismatic director portrayed by Paul Giamatti. Although Jerry initially mistreats her, his methods eventually draw out her inner strength. Moore told reporters in Rome that it is never too late or too early to rediscover oneself. She thanked Eisenberg for allowing her to portray a middle-aged woman experiencing a youthful journey. The actress noted that the script offered her a dual role, as Mona transforms alongside the character she plays, Miss Danielle. She described Mona’s evolution from an amebic state into a complete and strong woman. Moore explained that this process mirrors her own acting method, where she finds specific physical traits such as walking style, wigs, and vocal tones until the character clicks. She emphasized that constructing a performance involves assembling elements from one's imagination. Eisenberg stated that he built the character of Mona based on his own experiences as a shy and isolated child who found acceptance in amateur theater. He admitted that he wrote the screenplay specifically with Moore in mind, imagining her voice, body, and face on every page. The director described the film as a love letter to community theater, noting that its surreal tone allows him to accentuate emotional shifts. He instructed his crew, including the cinematographer, production designer, costume designer, and editor, to reflect Mona’s internal feelings visually. When Mona felt happy and welcome, the world was depicted with fruits, flowers, and bright colors. Conversely, when she feared rejection, the city appeared ugly. Eisenberg aimed to tell a subjective story that resonates universally. Moore recalled reading the script for the first time, saying she had to stand up and walk around the dining room table to catch her breath because she could not believe she had been given the opportunity. She described her acting approach as getting as close as possible to the emotional world of her characters. She believes the collision between actor and character happens gradually until their subjectivities nearly coincide. This alignment is why she loves her profession. In the film, the theatrical experience serves as therapy for Mona, helping her grow from a childlike state into adulthood. The production, produced by A24, features Halle Bailey, known for The Little Mermaid and Purple, alongside Eisenberg himself. The movie premiered at the Toronto International Film Festival, where it received positive reviews. Critics have suggested that Moore’s vibrant performance may propel her toward a second Academy Award nomination during the upcoming awards season. The narrative explores a double process involving both the adoption of a fictional mask and the construction of a personality that never had the chance to develop previously. During the festival day dedicated to debuts, another competing film, Ulya by Latvian director Viesturs Kairiss, was highlighted. This black-and-white work tells the biography of legendary Latvian basketball player Uljana Semjonova, who stood 2.13 meters tall. The film, which had its premiere at the Cannes Film Festival, focuses on her difficult adolescence and peasant origins in Soviet Latvia in 1964. While the main focus remained on Moore and Eisenberg, the inclusion of Ulya underscored the festival’s commitment to showcasing diverse cinematic voices. Moore concluded her remarks by expressing gratitude for the joy the role filled her with. She described the transformation in the film as organic, driven by the therapeutic nature of acting. The dynamic between Mona and Miss Danielle creates a game of masks where the two identities battle within the protagonist. Moore’s ability to translate this conflict onto screen has been praised for its comedic and dramatic depth. The film’s release marks the beginning of its commercial run in Italy, setting the stage for further international distribution and potential award recognition.