Many films about artists depict their work in the most ideal of circumstances where some life event leads to a sudden moment of ingenuity. But in reality, art is a drawn out process with its ups and downs. Some days may feel great when inspiration runs free-flowing while others frustratingly pass by as artist’s block. This is the case in Showing Up and for our exasperated protagonist Lizzy (Michelle Williams), a sculptor one week from her solo art showcase.
It’s a testament to Williams, now a four-time collaborator with director Kelly Reichardt, that we are able to really feel Lizzy’s weariness. She slumps like she’s carrying thousands of her ceramic figurines behind her and sighs as if she hasn’t slept well in weeks. This isn’t without good reason though. There’s her broken water heater, her father (Judd Hirsch) and his house guests (Matt Malloy and Amanda Plummer) who Lizzy is worried are taking advantage of him and her troubled brother (John Magaro) who keeps busy digging holes in his backyard.
On top of that, she has to contend with her friend, enemy, rival and landlord Jo (Hong Chau), who is preparing two art showcases that are larger and more impressive to her peers. It seems that Jo, unlike Lizzy, has everything figured out, creating well-regarded art and having friends over to socialize after work. Early on in the film, Jo saves a pigeon that Lizzy’s cat attacked, and in her carefree way, makes Lizzy responsible for its well-being. The wounded pigeon is notably the film’s central metaphor, a living thing that requires care and attention before it is set free into the world. The bird may represent Lizzy’s sculptures or even the process of Reichardt making the film itself.
Perhaps most palpable is Lizzy’s self-doubt about her art. When she receives compliments from Marlene (Heather Lawless), a teacher at the arts school where they all work, she appears uncertain about whether she deserves it. Like Jo, Marlene comes across as self-assured and competent in her work. Reichardt and co-writer Jon Raymond include several scenes of Lizzy wandering through the school campus, looking at the students and teachers’ art. One could interpret these excursions as her insecurity getting to her as she considers how her ceramic figurines are insignificant compared to others’ work. This is an important time for Lizzy as the film’s underlying question comes from whether she wants to continue making art. She may think that she’ll never be as successful as Jo, and even when Marlene brings a gallerist friend from New York to her show, nothing seems to come from it.
Despite all the problems in Lizzy’s life, the film is a comedy at heart. Showing Up draws much of its humor from the small, mundane moments that always seem to get in the way of her work. From taking the pigeon to the vet and paying $150 for the visit to constantly pestering Jo about her broken water heater, the film has its funny moments. And as much as the two annoy each other, Lizzy and Jo are undeniably close friends who respect and support each other’s work.
The film is also a celebration of art. While Reichardt does joke around with some facets of the arts scene, including Lizzy spending most of the film sporting Crocs, she also shows her love for the creativity it fosters. In between scenes, she often cuts to students discovering their passions and making art themselves. In this way, Showing Up feels like a personal film for Reichardt, examining the artistic process and the trials and tribulations that come with it. Lizzy may even act as a substitute for her. Reichardt has made a career out of directing small-budget films and serving as a professor at Bard College, and Lizzy works an admin job at the school, showing up during off-hours to sculpt. This may be where the film gets its title. When life gets in the way of making art, all we can do is show up the next day and keep going.
Photo courtesy of A24
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