Showing Up

2023 1h 47m EN

😐

5.9

MID

★5.9TMDB · 139

ComedyDrama

Synopsis

Spoiler shield

In the days leading up to a possibly career-changing exhibition, a sculptor navigates her relationships with family, friends, and colleagues.

“Some stories are better left unspoiled.”

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Cast

Michelle Williams
Lizzy
Hong Chau
Jo
Maryann Plunkett
Jean
John Magaro
Sean
André 3000
Eric
Amanda Plummer
Dorothy
Matt Malloy
Lee
Heather Lawless
Marlene

Credits

Behind the camera

Director: Kelly Reichardt
Writers: Kelly Reichardt, Jonathan Raymond
Languages: English
Countries: United States of America

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 6

ERA

Did you know

Released 3 years ago.

MoodPlayr · trivia#01

2 / 6

DIRECTOR

Did you know

Directed by Kelly Reichardt, shot by Christopher Blauvelt. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#02

3 / 6

DIRECTOR

Did you know

Original score by Ethan Rose. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#03

4 / 6

DIRECTOR

Did you know

Editor Kelly Reichardt shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#04

5 / 6

CAST

Did you know

Michelle Williams and Hong Chau and Maryann Plunkett carry the top of the cast.

MoodPlayr · trivia#05

6 / 6

WILD

Did you know

IMDB entry: tt13923216 — still the authoritative cross-reference for credits and trivia.

MoodPlayr · trivia#06

Cinephile deep dive

The take

Kelly Reichardt directs. Christopher Blauvelt behind the camera. Ethan Rose scores. Kelly Reichardt cuts. Produced in United States of America. Dialogue in English.

Trivia

Things worth knowing

1Released 3 years ago.
2Directed by Kelly Reichardt, shot by Christopher Blauvelt. Note their partnership — DPs and directors often return to each other across a career.
3Original score by Ethan Rose. Worth a dedicated listen after — most great films lose half their impact without the score.
4Editor Kelly Reichardt shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
5Michelle Williams and Hong Chau and Maryann Plunkett carry the top of the cast.
6IMDB entry: tt13923216 — still the authoritative cross-reference for credits and trivia.
7Classified under 8 themes, including "portland, oregon", "artist", "landlord", "art".

The technical file

Cinematography: Christopher Blauvelt
Original score: Ethan Rose
Editing: Kelly Reichardt
Production design: Anthony Gasparro
Costume design: April Napier
Makeup / hair: Morgan Muta
VFX supervisor: Chris Connolly
Sound: Tony Volante
Stunt coordinator: Lex Damis
Runtime: 107 min · 1h 47m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Box office: $708,854
Original language: EN
Certification (US): R
IMDB: Showing Up (2023)

Also by

Kelly Reichardt

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Trailers & featurettes

Watch the pieces

Community reviews

What people are saying

Brent Marchant2024-02-12
★ 2/10
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.
CinemaSerf2024-03-06
★ 6/10
Try as I might,I just don't get Michelle Williams' style of rather moody and laconic delivery. She just always underwhelms me, and here is no different. This time she is "Lizzy" whose cat has an altercation with a pigeon which she chucks out of the door only for it to be rescued by her neighbour/landlord "Jo" (Hong Chau). Now she seems much more concerned about this rat with wings than she does with her lodger's frustrating lack of hot water. Anyway, pretty soon the pair are sharing the task of helping it recover the use of it's wing whilst "Lizzy" gets to grips with a forthcoming exhibition of her sculptures. That's the first ten minutes, thereafter we head down a more familiar dramatic route with a bit of a (quite entertaining) disaster then some family baggage to be dealt with along the way. For me, the undoubted star of this overlong and slightly repetitive story is the bird. It appears much more savvy of the unfolding narrative and appreciative of the path it was going to undoubtedly take than either of the lead actors. It's decently put together this, but the whole thing seems to lack much point or purpose. It suffers from a distinct lack of realism or relevance and though it's never boring, it is pretty humourless and has little memorable enough to merit recommending a cinema viewing.