In the days leading up to a possibly career-changing exhibition, a sculptor navigates her relationships with family, friends, and colleagues.
Michelle Williams
Lizzy
Hong Chau
Jo
Maryann Plunkett
Jean
John Magaro
Sean
André 3000
Eric
Amanda Plummer
Dorothy
Matt Malloy
Lee
Heather Lawless
Marlene
James Le Gros
Ira
Denzel Rodriguez
William
Eudora Peterson
Lauren
Judd Hirsch
Bill
Todd-o-Phonic Todd
Radio DJ
Lauren Lakis
Terri
Jean-Luc Boucherot
Peter
Ted Rooney
Ted
Ben Coonley
Ben
Chase Hawkins
Alex
Izabel Mar
Maya
William Rihel III
Preparer #1
Bahni Turpin
Vet
Dustin Clark
Preparer #2
Holly Osborne
Holly
Ethan Benarroch
Jared
Hanna Caldwell
Hanna
Kevin-Michael Moore
Jimmy
Theo Taplitz
Craig
Mia Bonilla
Mia
Sam Kamerman
Dahlia
Libby Werbel
Libby
Nova Kopp
Nova
Margaret Rodini
Margaret
Orianna Milne
Janet
Mike D Harris
Background / Driver
Cody Burns
Art Student (uncredited)
Kristina Haddad
Kristina (uncredited)
Victoria E. Henry
Teen Skateboarder (uncredited)
Kennedy Morris
Mary (uncredited)
Dvonte Robinson
James (uncredited)
Teal Sherer
Art Student (uncredited)
Rowan Vik
Art Student (uncredited)
Director, Screenplay
Kelly Reichardt
Screenplay
Jonathan Raymond
February 12, 2024
2
When I come across a film that’s the cinematic equivalent of witnessing the emperor’s nakedness, I feel compelled to shout it from the rooftops, something I would readily do with regard to this latest comedy-drama from director Kelly Reichardt. This plodding, insular, minimalist, frequently inscrutable offering tells the “story” (if it can even be called that) of a Portland ceramic sculpture artist (Michelle Williams) struggling to create her works for an upcoming gallery show when faced with the distracting burdens of mundane domestic crises and incendiary but largely unexplained family issues. However, little happens here, and the narrative is more of a showcase for the movie’s artwork than a vehicle with a definable plot, a problem further enhanced by a lack of any meaningful back story and solid character development (I guess that what they mean by “nuanced”). Indeed, one can tell when a release like this is truly in trouble when its most interesting and best defined characters are a housecat and an injured pigeon. The picture’s feeble attempts at humor nearly always fall flat, too, most of which are drier than dust (there’s subtle and then there’s inconsequential). It really troubles me when I see a seriously undercooked production like this undeservedly becoming widely acclaimed with over-inflated accolades. I’ve found this also to be the case with many of this filmmaker’s other works, but “Showing Up” represents a new low in her filmography. Not even the award-winning ensemble cast, with the likes of Williams, Hong Chau, Judd Hirsch, Amanda Plummer and Maryann Plunkett – the picture’s only noteworthy asset – can save this one from its own inherent failings. Experimental cinema is one thing, but unfocused, pointless, stream of consciousness filmmaking is something else entirely.