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The Last Showgirl Review: Pamela Anderson in Gia Coppola’s Melancholic Vegas Drama

Pamela Anderson anchors Gia Coppola’s melancholy drama about a veteran showgirl facing the end of her revue and a difficult relationship with her daughter.
Opened Runtime3 min Written byDocumentaryTube Team
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The Last Showgirl is a restrained character drama about a veteran Las Vegas performer facing the end of her revue and the possibility of a life beyond it. Pamela Anderson gives Shelly a vulnerable, hopeful presence; the film’s melancholy is affecting, though its spare approach can leave the people around her less fully developed. It is most rewarding for viewers drawn to an intimate, elegiac drama rather than a plot-heavy account of show-business reinvention.

What is The Last Showgirl about?

Directed by Gia Coppola and written by Kate Gersten, the 2024 U.S. drama follows Shelly, a longtime performer in the fictional Le Razzle Dazzle revue. After the show closes following a 30-year run, Shelly must imagine what comes next. The professional loss runs alongside her effort to repair a strained relationship with her daughter.

Shelly was once the revue’s star; now she helps keep the younger performers’ spirits up. That shift gives the story a useful tension: she remains devoted to the world that has shaped her, even as it is disappearing. The film stays with her personal upheaval rather than presenting itself as a broad account of Las Vegas showgirl culture.

Does Pamela Anderson’s performance carry the film?

Anderson gives Shelly an open, determined quality that makes her attachment to the show legible without reducing her to simple nostalgia. Her optimism and vulnerability sit uneasily together: she wants to believe she can begin again, but the life she knows has been built around performing.

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In a Directors Guild of America interview published December 29, 2024, Coppola said she wanted Anderson to move beyond the script and “just kind of embody” the role. That intention suits a film that leans on the actor’s presence and emotional texture more than on elaborate plot mechanics. It also points to the movie’s central risk: Shelly can feel closely bound to Anderson’s public story, leaving the character’s inner life less distinct than the performance suggests.

How do the mood and storytelling work?

The film’s subdued pace and melancholy atmosphere give Shelly’s loss room to register. It is less interested in a triumphant reinvention than in the uncertain stretch after a familiar identity has been taken away. That restraint will appeal to viewers who like character studies built from mood and performance.

It can also make the drama feel cautious. BFI Sight and Sound critic Jessica Kiang praises Anderson’s presence and describes the film’s woozy melancholy, but argues that it does not get far enough beneath the overlap between star and character. Screen Daily critic Robert Daniels responded more enthusiastically, calling Anderson’s work vulnerable and placing her in the awards conversation. Those are distinct critical judgments, not evidence of a settled consensus.

What do the supporting characters add?

The festival listing names Kiernan Shipka, Brenda Song, Billie Lourd and Dave Bautista among the cast. BFI identifies Jamie Lee Curtis as Annette, Shelly’s friend who works as a cocktail waitress, and Bautista as Eddie, the theater manager. Their roles place Shelly’s choices in a small web of friendship, work and family, but the film’s focus remains firmly on her.

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The mother-daughter relationship gives the story a second emotional thread, though it does not displace the revue’s closure as the central turning point. Viewers looking for an equally detailed exploration of every relationship may find the drama narrower than its themes initially promise.

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How did Coppola shape the film’s visual approach?

Coppola told the Directors Guild of America that the production shot on 16mm over 18 days, using handheld photography. She described prioritizing film stock over some lighting resources and connected the analog texture to the film’s contrast between the older performance world and a more digital present. These are the director’s stated production choices and intentions, rather than an independent technical assessment.

Is The Last Showgirl worth watching?

Yes, if Anderson’s performance and an elegiac, deliberately modest character drama sound like your kind of film. The movie has a clear emotional center in Shelly’s confrontation with a lost career and a difficult family bond. Its limitation is the same quality that gives it intimacy: the careful, spare approach does not always deepen the character relationships as much as it could.

The San Sebastián Film Festival lists the film at 86 minutes, in English, and as a U.S. production. Its listing also records DCP as the festival exhibition format; that does not establish home-video availability.

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