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Among Reichardt’s many long-term collaborators is Oscar-nominated actress Michelle Williams, who has starred in four of her films. Beginning with Wendy and Lucy, Williams has brought to Reichardt’s lens her particular talent for ruminative and often enigmatic performances, including as a 20-something drifter in search of a new job and lost dog and a 19th-century settler’s wife urgently questing after water and a new homestead along the Nice msu stacked alumni shirt moreover I will buy this Oregon Trail. For their upcoming collaboration, Showing Up, Reichardt has changed tack with a bittersweet comedy about the anxieties and mundanities of art-making. Set around the campus of a small fine-arts college on the outskirts of Portland, Showing Up focuses on fledgling ceramics artist Lizzy Carr during her final week of preparation for a local gallery show. (The sculptures of real-life Portland artist Cynthia Lahti stand in for Lizzy’s work.) Despite her talent and fastidious dedication to her craft, Lizzy remains an undiscovered regional artist—one of many in Portland’s bohemian enclave, far from the blue-chip galleries and prestigious MFA programs of New York and Los Angeles. By day she works for her administrator mother as a receptionist at the college and shares a duplex with a more successful installation artist, Jo (Hong Chau), who is also her negligent landlord. Lizzy wants nothing more than to complete the meticulous sculptures that sit unfinished in her garage studio, but persistent diversions absorb her attention, from the crises of family and friends to an injured pigeon and broken plumbing. As the opening date draws nearer, she must find her way through the commonplace chaos of humanity if she wants to master the collection of objects taking shape in front of her.As with all of Reichardt’s films, Showing Up subtly touches on experiences of the large and the small, the everyday and the dramatic, much like the shifting landscapes that occupy her camera frame. But here Reichardt is particularly intrigued by the mysterious role of distraction as both a creative hindrance and muse—this in addition to how the inescapable chores and routines of domestic life contain their own unique forms of artistry. In fact, Showing Up’s genesis actually lies in an aborted project Reichardt had hoped to produce around the Canadian painter Emily Carr (during an unproductive period in the 1910s when Carr ran a boarding house), as well as in two shorts that Reichardt filmed of artists Michelle Segre (whose installations stand in for Jo’s work in Showing Up) and Jessica Jackson Hutchins. These shorts show the artists’ daily rituals and working routines in their studios without any of the exhibition footage or academic cross talk that typically accompanies artist documentaries. The characters in Showing Up embody this same spirit of everyday craft, negotiating between their own individual artistic visions and life’s happy accidents.

In a recent interview, Reichardt and Williams discussed the Nice msu stacked alumni shirt moreover I will buy this world of Showing Up, their 15-year collaboration, and the place of mistakes, failures, and happy accidents in filmmaking.Vogue: I come from a very small town in Texas, so there is something I feel quite close to in your films. It’s a tiny suburb outside of Houston called Conroe. It’s probably similar in certain ways or in size to the town you come from, Michelle. One of the distinctive themes underlying much of Showing Up is how art-making is often everything but making art. I read that the roots of the film were in a biopic you wanted to make of the Canadian artist Emily Carr’s unproductive decade as a landlord. I also recall you saying that your film First Cow came out of another failed film based in Europe. And you often mention that between making your first film, River of Grass (1994), and second film, Old Joy (2006), there was a decade-long gap where you could not get a feature film made. How much do you think failures, unrealized projects, and accidents inspire how you approach the task of filmmaking? Reichardt: I feel like each film we make—especially with Meek’s Cutoff—could be the last film I make. I’m starting to ease off this, but I felt like I wanted to make up for the time I wasn’t able to make films. I wanted to learn as much as possible. When you look at great directors—I mean men—they made so many films and they had decades to learn their craft. So if you sit out a decade…I mean, I was always practicing during that time. I worked every day, I was working in Super 8 or whatever I could get my hands on. I thought about the frame, saw an insane amount of films. But it’s only through practice that you get better, and filmmaking is a hard thing to practice at. It’s really expensive, and you get a limited amount of chances.It was through that that I started to figure out how I could work, which was starting very minuscule and working my way up gradually. Old Joy was a crew of six. Wendy and Lucy was a crew of 13. There was gradual growth, and in that gradual growth—my producers, for example, Old Joy was their first film, so they got to shape how this world of us making films worked. And that came with meeting Michelle and working with Christopher Blauvelt, the cinematographer, and the assistant director Chris Carroll, the writer Jonathan Raymond—these very key collaborators whom I’ve been able to progress with and have a bunch of life experiences with. And in that I figured out what kind of world I wanted to work in. And I also began to teach, and I discovered that I loved teaching and that teaching was a great balance with filmmaking. I landed at Bard about 17 years ago, and that’s been a very important part of my life: my world there and how it works with filmmaking. So in Showing Up—you’re going to love how I bring this all together—the teaching and the filmmaking came together.

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