Showing Up

I've been a fan of Kelly Reichardt's other movies, notably "Wendy and Lucy" and "First Cow," but this one left me cold.

Michelle Williams plays a sullen and mousy artist who walks around in a fog of frustration over not having enough time for her art because of the demands of other people. I can get on board with a slow burn that reveals bits and pieces of a character's inner life that finally coalesces into something like a whole. But that doesn't happen here. At the very end of the movie, there are some moments that I liked and finally made me start to understand some of the circumstances that contributed to Williams's character being the way she was. But then the movie just abruptly ended, and the pay off was not anywhere near recompense for the tediously slow and border line boring movie that led up to it.

There is a running storyline with an injured pigeon that results in obvious and over used symbolism.

Grade: C+

Kelly Reichardt's (Old Joy/First Cow) latest from 2022 starring Reichardt's go to girl Oscar nominee Michelle Williams (after working on Wendy & Lucy & Meek's Cutoff w/her) in this tale of a frumpled art colony where Williams has to wrestle w/working on material (she's a sculptor of small figurines) for a new show while dealing w/her equally spacey landlord, Oscar nominee Hong Chau, to get the hot water running. As the muted drama continues we see the different members of this collective show off their wares or struggle to provide work for impending shows w/not much to show at film's end as it seems Reichardt may've fell in love w/this bohemian culture but didn't have an interesting story to tell (as opposed to Terry Zwigoff's 2006 off the wall adaptation of Daniel Clowes' Art House Confidential) which is a shame since for me Reichardt, a premiere regional director working out of the Pacific Northwest, has a solid track record w/her releases. Also starring Oscar nominee Judd Hirsch as Williams' dad & former Outkast member Andre 3000 (who's much derided flute music can be heard in the background) as a member of the collective.

It took me a few weeks to digest this movie, which is profound considering how quiet and reserved it is. This film will resonate with creatives and dreamers alike; people who battle finding space and time to make their art amongst the seemingly mundane and frustrating daily activities.

As a former Portland resident (I lived a few blocks from Lizzy's house) I got nostalgic instantly. The pace of the movie feels indicative of a summer in transit.

I was sad to see so many negative reviews, which is partly why I felt the need to share my thoughts. There is beauty to this film which I hope people can find on a closer look.

Also, Andre 3000.

If for no other reason than its ability to do what Steven Spielberg could not, namely elicit a quiet, non hambone performance from Judd Hirsch, Kelly Reichardt's latest film should be commended. But there are other pleasures to be had in this tale of a frustrated artist in boho Portland, Oregon (by the way, Is there a non boho part of that city?), chief among them Michelle Williams' interpretation of the main character. I think we've all known a person like Lizzy, talented in their field but not talented enough to allay self doubt and envy of greater talents.(Think a kinder, gentler Llewyn Davis). It takes awhile for Lizzy's virtues to emerge but under Reichardt's sensitive direction and aided by her and co writer Jon Raymond's perceptive screenplay, Williams effectively peels away Lizzy's layers and lets you see the caring, sensitive person beneath the depressed, resentful person, so that by film's end we feel we know this good if extremely flawed individual. Wonderful character study which, again, leads me to muse on why this enormously gifted actor has yet to win an Oscar. Strongly supporting Williams are a number of actors with whom I was not familiar, especially Hong Chau as Lizzie's rival and bete noir, Maryann Plunkett as her checked out mom and John Magaro as her deranged, paranoid brother. Also worthy of mention is cinematographer Christopher Blauvelt who, like Williams, often works with Reichardt and whose camera beautifully but unobtrusively immerses us in the Rose City.

The film's main drawback is obvious and needn't be dwelt upon unduly. Reichardt's pacing, which will never be confused with that of Hawks or Bigelow, is at its most deliberate (read slow as hell) in this film. I can understand and sympathize with my IMDB colleagues annoyance with it. But if you can somehow adjust yourself to the director's contemplative, subdued rhythm you will be rewarded in the end, especially in the climactic scene at Lizzy's show where the tension, long held back, is palpable. More problematic for me than the slowness, actually, is the director's use of the too symbolic bird which, like most symbols in film and literature, I found both obvious and heavy handed.

Bottom line: Not as good as "Wendy And Lucy" or "Meeks Cutoff" (or even "Old Joy", for that matter) but well worth your time. Give it a B.

That I guess was the goal here of this minimal-listic drama, not really any comedy here. A light moment here or there does not make it a comedy with me. With no clear hero or enemy in this film and character that are just tolerable but barely likeable. The narrative is not very strong nor is the writing. I understand what was going on in the film but the actors also did not make me feel anything, perhaps the only actor that moved me in any way was Judd Hirsch, who always delivers an amazing performance even though he didn't have much to do here. He always emotes and is a joy to watch. I noticed he was working again with co-star Michelle here which is sweet to see. When you have indie type filmmaking of this nature it is best formatted as a short; say 20- 30 minutes long. Then you really would have a real winner, I noticed in the credits that the director was also the editor. Very interesting and I like the indie style overall, lots of subtext.