It hit me a couple of days ago that Kent Jones‘ Late Fame (Magnolia, 8.7), which I raved about nine months ago during the 2025 Venice Film Festival, is finally opening theatrically after months and months of kicking around the festival circuit.
It’s much, much better film, trust me, than Fame‘s delayed, limp-wristed release date implies.
I don’t care how many exceptional films open between now and 12.31.26 — Late Fame is now and forever among the ten best of the year. I know this.
Posted on 8.30.25: “Late Fame Is Sparely Rendered, Just Right — A Short Story Perfectly Translated Into a Tight Film.”
I’d been told not to expect too much from Kent Jones’ Late Fame, that it was on the minor side. This turned out to be hooey.
Based on a 1914 Arthur Schnitzler novella with the same title, Jones’ film is a fine, true-to-itself, cut-to-the-chase rendering that has a fine short-story economy.
Willem Dafoe‘s performance as the late-60ish Ed Saxberger, a onetime celebrated poet who peaked 45 years ago (sometime between ‘79 and the very early ‘80s) only to abandon poetry for a humdrum job at the post office, is one of his all-time greatest.
And Greta Lee is wonderful as Gloria, an arresting, electrically flirtatious, life-of-the-party type who sings and acts in small clubs and regional productions. Soon after Saxberger is embraced and celebrated by a small group of rich-kid fans who want him to start writing again, Gloria and Ed take to each other immediately, and the prime current and intrigue of Late Fame is whether or not this attraction will lead to something or just be a passing, flash-in-the-pan fancy…this is what holds you.
It’s clear early on that the latter scenario is the most likely, and so the viewer is seized with concern about whether or not Saxberger will make a fool of himself. Don’t go there, bruh! Step back and hold yourself in check.
Sharply sculpted by screenwriter Samy Burch, Late Fame wins you over early on with a well-honed tone of no-bullshit clarity, and within 96 minutes it hits the melancholy mark with admirable bull’s-eye precision.
It’s easily one of HE’s best films of the year (and surely of the festival) because it holds a tight and true focus from start to finish. Congrats to Jones, Dafoe, Lee and also costar Edmond Donovan as one of Saxberger’s rich-kid admirers, and a tip of the hat to everyone else on the relatively small production team. Excellent, character-driven filmmaking of this sort is all too rare.