Showing Up

The film closes with Lizzy’s modest exhibition finally opening its doors. Her father, the solitary, disillusioned painter, is the first to arrive, rambling through the crowd with the kind of stories that soon prove to be exaggerated, a fact his wife later points out. One by one, the familiar faces of the small‑town art community filter in, each carrying their own projects and gossip, until the room feels like an extension of Lizze’s everyday world.

The most surprising guest is Jo, the confident neighbour whose carefree attitude has long haunted Lizzy. Despite the tension that has built between them, Jo steps inside, puts aside any petty rivalry, and quietly acknowledges Lizzy’s work. Even Lizzy’s brother, who had disappeared moments before the opening, shows up at the last minute, adding a note of relief to the otherwise uneasy atmosphere. Among the attendees is also a New York gallery owner, hinting that the show might reach beyond the town’s borders.

While the audience murmurs about the sculptures, a small drama unfolds in the gallery’s back: the pigeon that Lizzy rescued earlier, its wings still bound, is untied by two curious girls. The bird flutters across the room, startling the crowd, and ultimately lands on the floor where Shaun scoops it up and releases it outside. The sudden freedom of the pigeon mirrors the tentative release Lizzy feels as she watches her work finally seen by others.

The final scene finds Lizzy and Jo walking together down the street, their steps slow but synchronized. Though their approaches to art and life differ, the shared experience of caring for the injured pigeon has forged a tentative camaraderie. In these quiet moments the film suggests that showing up—whether for a show, for a friend, or for a wounded bird—can be both an act of acknowledgement and a small, unexpected step toward mutual understanding.

Last Updated: October 08, 2025 at 10:03