Kelly Reichardt has been making minimal Americana since the early 1990s, mostly around the state of Oregon where she lives and mostly about her favored awkward squad: quiet square pegs who don’t quite fit the round holes society provides.
In this ongoing quest she has found many collaborators, but none more attuned to her recessive brand of naturalism than Michelle Williams.
As a homeless woman trying to find her stolen dog in Wendy and Lucy; as part of a wagon train heading west in the counter-western Meek’s Cutoff; and as half of a married couple trying to build their dubious “dream home” in Certain Women, Williams lets her performances ripple almost imperceptibly towards us, which is very much the Reichardt way.
Each character’s drama, if you could call it that, lies under the surface.In Reichardt’s latest, Showing Up, running in competition at the Cannes Film Festival, Williams plays Lizzy, a middle-aged ceramic artist who makes rent by working in the office at an arts and crafts school.
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