The Last Showgirl is a brilliant showcase for Pamela Anderson.
Her portrayal of a long-time Las Vegas showgirl who is facing the closing of the show she’s devoted her life to is both vulnerable and powerful.
The film captures the suddenness and disorientation between past glory and an uncertain future, weaving in small moments that reflect the challenges of staying afloat in an industry that values youth and beauty.
The supporting cast—including Kiernan Shipka, Brenda Song, and Dave Bautista—add depth, with each character grappling with their version of change. Jamie Lee Curtis is also great as former showgirl Annette.
Directed by Gia Coppola, the film is intimate. The camera often lingers on characters in unguarded moments, creating a sense of closeness. The production design and costumes brilliantly contrast the showgirl’s glamorous world with the Las Vegas desert outside the strip, and the film is shot with a dreamlike haze.
Though the handheld camerawork is occasionally dizzying, The Last Showgirl is a heartfelt exploration of resilience in the pursuit of new beginnings and an exciting turn for Pamela Anderson.
In my review, I discuss why the handheld camerawork made me queasy, how The Last Showgirl makes use of small, human moments, and Why Pamela Anderson could win the Oscar for Best Actress.
Letter Grade: A