Kelly Reichardt and Michelle Williams knock it out of the park yet again in their latest moving, minimalist collaboration, Showing Up. justbrizigs' NYFF60 review:
hit theaters, Kelly Reichardt doesn’t stray from the Pacific Northwest setting where four of her other films take place. This time, she trades 17th century Oregon County for the present-day Oregon College of Art and Craft in Portland, where her exasperated lead, Lizzie , works as a day job.
In her fourth collaboration with Reichardt, Williams is better than ever. Possibly overdone in beleaguered, regular-woman makeup this time around, Williams still best showcases just how lived-in of an actress she can be in Reichardt’s work. Every sigh she utters feels pulled down by weights, her slouch hurts to look at; her exhaustion bounces off the screen and infects the audience like an illness.
Like Lizzie’s patchy figures, Reichardt’s camera fixates on obscured body parts and jerky zooms as it follows Lizzie working towards her opening night amidst a near-comical string of setbacks. First, her hot water is still off. It’s a weeks-long issue habitually, if unsurprisingly, ignored by Jo, with Hong Chau being a totally effortless fit for Reichardt’s naturalist world. Jo is well-meaning, but flitty, unreliable and a little phony.
However, the throughline humming through all the maelstrom of Lizzie’s life is this creative insecurity. It comes across in how Lizzie carries herself, how she speaks about her art and how she speaks to others. When her first set of female figures come out of the kiln at school, she remarks to herself how good they look. In that moment, she feels pride in her work, and accepts the praise from her co-worker, Eric as he hands the ceramic ladies from the kiln over to her.
Lizzie takes to ambling through the halls at her school and exploring the art that the students and teachers are making. Perhaps she’s considering to herself in what ways their art is better than hers. When looking at her tiny clay figures after witnessing the vastness of Jo’s in-progress exhibition, there is the sense that Lizzie feels overshadowed by her perceptions of her peer’s success and opportunities.
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