by Foster Harlfinger, Contributing Writer
As with writer-director Kelly Reichardt’s previous films (including Certain Women and First Cow), Showing Up revels in its depiction of small moments of humanity. It follows naturally that when the setting of your film is the notoriously idiosyncratic Portland art scene, it will undoubtedly include its fair share of offbeat comedy, intentional or otherwise. Whether it be our protagonist’s outfits consisting of crocs and smocks, or the amusing array of painting and dance classes happening just off-frame, Showing Up demonstrates a real warmth and love for its characters, guiding audiences through Reichardt’s deliberate pace.
Lizzy (Michelle Williams) is a sculptor, worn down by the mundanities of life, working on a handful of smaller pieces in preparation for a new exhibit. Fresh off her role in Steven Spielberg’s The Fabelmans, Williams could not be more unlike the free-spirited Mitzi Fabelman. Understated and subdued, Williams quietly offers one of her most impressive performances, though it will likely remain underappreciated by awards bodies, following in the footsteps of fellow A24 alums like Ethan Hawke in First Reformed and Joaquin Phoenix in C’mon C’mon.
Save for a standout voicemail toward the end of the film, Lizzy rarely lets those around in on the stress bubbling just beneath the surface. It is only through Williams’s performance that the audience is let in on the nagging presence of those every-day stressors. Whether it be a broken water heater or a pesky kiln-fire cooking her favorite sculpture past the point of presentability, it’s always something for Lizzy, and we are with her every step of the way.
The supporting players likewise add a considerable amount of texture to Reichardt’s world, none more welcome than the unstoppable Hong Chau. Continuing her success from 2022’s The Whale and The Menu, Chau continues to be a standout in practically every one of her films. Her character Jo’s more extroverted quirkiness offers a necessary and humorous counterpart to Lizzy. It is a mark of the film’s groundedness that something as simple as the two’s dueling reactions to a pigeon with a broken wing serves as one of the primary conflicts of the film.
Showing Up is slow and contemplative in a way that could easily put unsuspecting audience members to sleep. Even for fans of the broader A24 catalogue or Reichardt’s previous film First Cow, Showing Up has less narrative tension to propel viewers through its slow pace. However, as with all great auteurs, Reichardt’s style is a self-assured wavelength. Showing Up is exactly the film it wants to be, and that is precisely its greatest asset. If you are not turned away by the pacing, then it is difficult not to be moved by Reichardt’s warmth, attention to detail, and non-judgmental love for her wonderfully quirky cast of characters.
Score: 7/10
Showing Up is currently playing in limited theaters
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