In Kelly Reichardt’s wonderful new comedy, Showing Up, Williams plays a sculptor on deadline who keeps getting pulled away.
, Williams plays a sculptor on deadline who keeps getting pulled away.Showing Up
, and it doesn’t require a stretch of the imagination to see her as a stand-in for the director herself. Like Reichardt, Williams’s character, Lizzy, makes art that is idiosyncratic and intimate in scale — little ceramic women that she refers to as her “girls” and glazes in striking colors. It’s lovely stuff, full of detail you have to lean in closely to appreciate, but it isn’t the sexiest from a branding perspective.
Williams gives her character the pinched air of a Victorian bluestocking who has found herself in crunchy present-day Oregon and is slightly put out by the situation.is more than worth surrendering to. It’s one of Reichardt’s best — warm as one of the sunny Portland, Oregon, afternoons Lizzy’s perpetually fretting her way through and an affectionate rumination on the relationship between art and all the day-to-day stuff of life that can get in the way of making it.
last year to tell the movie’s young Steven Spielberg stand-in that to be a true artist is to be selfish and always choose your work over your loved ones. “Art will give you crowns in heaven and laurels on earth, but it’ll tear your heart out and leave you lonely,” he declared. Although it couldn’t have been planned,plays like a response to that particular declaration — an affirmation of art as coexisting with all the prosaic stuff of everyday life.
With her packed pasta lunches and unstylish Crocs, Lizzy might as well be the opposite of an art monster. Williams is wonderful in her fourth collaboration with Reichardt, giving the character the pinched air of a Victorian bluestocking who has found herself in crunchy present-day Oregon and is slightly put out by the situation. Lizzy can be touchy and easily flustered and has no patience for working the room — even when Marlene brings a gallerist friend from New York to her show.
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