I find Kelly Reichardt’s films serenely meditative, particularly when the narrative drive is a gentle one, like with Old Joy (2006) and Wendy and Lucy (2008).

Michelle Williams again takes a central role as Lizzy, an unassuming ceramic artist who has a day job in the office of an art school run by her mother, Jean (Maryann Plunkett). Lizzy is preparing for a show, which means working long hours in her garage studio and contending with her landlady Jo (Hong Chau), a fellow sculptural artist who seems to be having more success.

As the story slowly unfurls, we get glimpses of the diversity of creative endeavours (some of my favourite scenes are the almost peripheral views of artists at work), the egos and the doubts, those who need validation, and those who demand it.

Lizzy is a bit of a mess, someone who has never learn to speak up and carries around a well of bitterness. When we meet her family, particularly her successful potter father (Judd Hirsch) and volatile artist brother (John Magaro who was also in Past Lives (2023) at this MIFF) we can see where it might come from and how this overshadows any creative success she might reach.

The connection between Lizzy and Jo is the most compelling aspect of the story, and it is the relationship that seems the most complex and that undergoes change. The passive aggressive to-and-fro, the silent envy and the complication of a shared injured bird feel like what the narrative is all about. As my MIFF buddy Not a Sexy Vampire pointed out, it’s about ‘showing up’ in people’s lives when it’s needed the most and also ‘showing up’ people’s faults.

According to IMDb, Reichardt said the movie “deconstructs the idea of a genius” and “the movie (and its title) refers to the idea of showing up to work every day, and taking time to hone a skill, until it becomes automatic, like eating.”

I imagine many may be frustrated by Lizzy’s complicity in her own disappointments, but it feels very real. I loved the final scenes, where the pomposity, mania, self-doubt, and anger all stopped for a transcendent moment. It felt like a letting go of a long held breath.

And here’s a nice bit of trivia that you might be interested to know. The artwork Lizzy creates is by Portland artist Cynthia Lahti who Reichardt admires. When approached to feature her art in the film, she had been about to give up her art career but training Williams in how to believably sculpt on screen renewed her passion to continue.

Director: Kelly Reichardt
Origin: USA (2022)
Language: English
Genre: Drama

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