---
title: "The Last Showgirl"
year: 2024
kind: "film"
canonical: "https://film.one/film/the-last-showgirl"
fi1m_id: "the-last-showgirl"
imdb_id: "tt31193791"
tmdb_id: 1235499
wikidata_id: "Q124547601"
fi1m_score: 68
critics_score: 64
critics_reviews: 25
published: "2026-10-03T03:40:35.633561+00:00"
updated: "2026-10-03T03:40:37.035903+00:00"
region: "ES"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Last Showgirl (2024)

Directed by Gia Coppola · 1h 29m · ICAA 16 · Drama

## Identity

The Last Showgirl

- **Canonical:** https://film.one/film/the-last-showgirl
- **Type:** Film
- **Fi1m ID:** the-last-showgirl
- **IMDb ID:** tt31193791
- **TMDB ID:** 1235499
- **Wikidata ID:** Q124547601
- **Same entity:** https://www.imdb.com/title/tt31193791/, https://www.themoviedb.org/movie/1235499, https://www.wikidata.org/wiki/Q124547601

**Fi1m score: 68** · Critics 64 from 25 reviews

*In a sentence:* Pamela Anderson does the work while the rest of the film admires the lighting

> Pamela Anderson is moving in Gia Coppola’s uneven drama about an ageing Las Vegas showgirl. Her performance deserves attention, but the thin supporting characters and drifting pace will test anyone looking for a fuller story.

## Synopsis

In Las Vegas, Shelly (Pamela Anderson) takes pride in being a showgirl, even as ageing makes her place in that life less secure. Around her are Annette (Jamie Lee Curtis), Eddie (Dave Bautista) and a community of women whose work depends on being watched. Shelly wants her performing to matter, while her relationship with her daughter brings her choices as a mother into question. Away from the stage, her film room offers another part of her life. Work and motherhood make competing demands, and she struggles with being valued less as she gets older.

## Review

Gia Coppola approaches *The Last Showgirl* with a respect for performing that the film does not always turn into convincing drama. Shelly’s attachment to her work deserves to be taken seriously, and Pamela Anderson gives that attachment enough force to hold our attention. The result is a modest, affecting film for viewers interested in an actor finding the right part. Its thin writing and tendency to linger make that a qualified recommendation.

The central performance works because Shelly does not seem to be waiting for permission to believe her job matters. Pamela Anderson lets pride, uncertainty and an incomplete understanding of herself coexist, without tidying them into a lesson about self-acceptance. We were moved by the seriousness she gives Shelly’s pride in performing. Her distinctive voice helps: even when the writing is too plain about what hurts, she makes the hurt feel particular to this woman.

Kate Gersten’s screenplay is less persuasive about the people who share Shelly’s life. The mother-daughter material feels familiar, and familiarity does too much of the work of characterisation. We understand that motherhood matters to this story before the relationship has given us enough particular reasons to care about these people together. Against that, Dave Bautista brings a welcome attentiveness to Eddie, and his scenes with Pamela Anderson suggest a relationship with more going on than the dialogue can state.

Jamie Lee Curtis gives Annette a force that the surrounding film sometimes lacks, although the role leaves us wanting more of the person behind it. Brenda Song’s Mary-Anne and Kiernan Shipka’s Jodie are also caught in a script that gives the supporting cast too little room. This matters in a film interested in a community: Shelly cannot be the only person whose life feels complicated. Too often, leaving her means waiting to get back to her.

Autumn Durald’s cinematography finds something tender in Las Vegas’s faded glamour, although its softness sometimes gets between us and the people. Shelly’s film room is a useful visual detail because it gives her an interest beyond being looked at. Natalie Ziering’s production design works well on that domestic scale, allowing us to consider Shelly through the space she occupies away from performing. Elsewhere, the film is too ready to linger over an image when a scene needs to develop.

Editors Blair McClendon and Cam McLauchlin give the atmosphere plenty of space, but the repetitions become noticeable within an 89-minute running time. Andrew Wyatt’s music helps sustain the mood, though it cannot make those stretches feel necessary. Slow pacing is reasonable here, and a busier plot would not automatically improve the film. The difficulty is that we spend too many of these passages learning nothing further about Shelly.

In a drama about an ageing performer, admiration can become a substitute for curiosity. Gia Coppola avoids the worst of that through a central character whose pride is not always comfortable to watch. Even so, the film needed to be more curious about the lives around her. Give it an evening if performance-led character studies are your preference, and be prepared for the writing to do less than its leading actor.

*Fi1m score 68, published 3 October 2026.*

## What the critics say

The reviews lean cautiously positive, with much firmer agreement on Pamela Anderson than on the film around her. Most critics praise the vulnerability and sincerity of her performance, finding emotional weight in Shelly’s pride in her work and uncertainty about her future. Praise also gathers around the film’s sympathy for ageing women and its portrait of Las Vegas’s faded glamour, though the soft visuals do not work for everyone.

The verdicts range widely, but reservations repeatedly concern thin writing, underdeveloped relationships and a tendency to meander. Even several admirers find the storytelling slight; less persuaded critics see repetition and atmosphere covering for a shortage of dramatic substance. Variety offers a notable dissent on Anderson herself, finding both her performance and the role limited, while singling out Jamie Lee Curtis for praise. The central divide is over how much Anderson can compensate for the screenplay.

## Straight answers

**Is The Last Showgirl worth watching?**

*The Last Showgirl* is worth watching for Pamela Anderson’s moving performance if performance-led character studies are your preference; we score it 68 out of 100. We were moved by the seriousness she gives Shelly’s pride in her work, but thin supporting characters and drifting pacing make this a qualified recommendation.

**How long is The Last Showgirl, and what is it rated?**

*The Last Showgirl* runs 1h 29m and is rated 16 by the ICAA in Spain. It is a drama film.

**Where can I watch The Last Showgirl in Spain?**

*The Last Showgirl* is not on any streaming or rental service in Spain at the moment. It is available in 27 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is The Last Showgirl, and is it suitable for children?**

*The Last Showgirl* has a UK 15 certificate, making it a choice for older teenagers and adults rather than children. Its concerns include ageing, work and motherhood, but the certificate alone does not establish how violent or frightening it is, so we cannot offer specific reassurance to squeamish viewers.

**How does The Last Showgirl compare to The Wrestler?**

*The Last Showgirl* offers a softer, more drifting portrait of a performer attached to work than [*The Wrestler*](https://film.one/film/the-wrestler), which we recommend more strongly for its tenderness and humour despite the discomfort. Both depend on their central performances and have familiar writing, but Anderson has less support from the surrounding characters; choose her film if a gentler character study appeals.

**What should I watch after The Last Showgirl?**

After *The Last Showgirl*, try [*The Wrestler*](https://film.one/film/the-wrestler) (2008, Fi1m 85): For another performer whose attachment to work makes everything outside it difficult. Then [*The Dresser*](https://film.one/film/the-dresser) (1983, Fi1m 80): Backstage labour and professional pride, with more attention paid to the supporting player; and [*Pina*](https://film.one/film/pina) (2011, Fi1m 80): For the dancing itself, and bodies expressing what dialogue cannot quite manage.

### Reviews we read (25)

- **IndieWire**, Kate Erbland (B+): Erbland praises the film as a deeply affecting showcase for Pamela Anderson, while noting that it loses focus when it moves away from her character. She singles out Anderson’s emotionally intense, vulnerable performance as the film’s great strength. [Read](https://www.indiewire.com/criticism/movies/the-last-showgirl-review-pamela-anderson-gia-coppola-1235044791/)
- **Evening Standard**, Hayley Spencer (4/5): Spencer finds the film a heartfelt success and calls Anderson’s performance captivating. She praises the sensitive visual portrait of the Las Vegas showgirl community. [Read](https://www.standard.co.uk/culture/film/the-last-showgirl-review-pamela-andersons-breakout-role-is-a-belter-b1211280.html)
- **The Guardian**, Wendy Ide (4/5): Ide finds the film bruising and beautiful, though its storytelling can feel flimsy. She especially praises Pamela Anderson’s subtle performance, which she says transforms how audiences see her as an actor. [Read](https://www.theguardian.com/film/2025/mar/02/the-last-showgirl-review-pamela-anderson-gives-performance-of-a-lifetime-in-rhinestone-studded-tale)
- **Time Out**, Elizabeth Weitzman (4/5): Weitzman calls the film a touching elegy to Las Vegas razzle-dazzle and says Anderson hits a career high. She singles out Anderson’s performance as a revelation. [Read](https://www.timeout.com/movies/the-last-showgirl-2025)
- **The New York Times**, Manohla Dargis (75/100, inferred): The review is broadly positive about Gia Coppola’s film. It singles out Pamela Anderson’s performance for praise. [Read](https://www.nytimes.com/2025/01/09/movies/the-last-showgirl-review-pamela-anderson.html)
- **Los Angeles Times**, Amy Nicholson (70/100, inferred): Nicholson finds the film slight and occasionally padded, but says Pamela Anderson’s layered performance transcends it. She especially praises Anderson’s sincerity and self-awareness in portraying Shelly’s hazy contradictions. [Read](https://www.latimes.com/entertainment-arts/movies/story/2025-01-09/last-showgirl-review-pamela-anderson-jamie-lee-curtis-dave-bautista)
- **Screen Daily**, Robert Daniels (70/100, inferred): The available standfirst frames the film as a showcase that could put Pamela Anderson into the awards conversation. The paywall prevents access to the critic’s fuller verdict or any specific praise. [Read](https://www.screendaily.com/reviews/the-last-showgirl-toronto-review/5196991.article)
- **The AV Club**, Brianna Zigler (B-): Zigler finds the film slipshod, despite its thoughtful examination of aging and womanhood. She praises Pamela Anderson’s fragile, captivating performance as the film’s great strength. [Read](https://www.avclub.com/the-last-showgirl-review)
- **The Hollywood Reporter**, David Rooney (65/100, inferred): Rooney finds the film slender but tender, with a moving portrait of a woman whose sense of self is crumbling as she is devalued. He praises Pamela Anderson’s affecting performance, while criticizing the film’s drift and emphasis on atmosphere over substance. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-last-showgirl-review-pamela-anderson-gia-coppola-jamie-lee-curtis-1235994720/)
- **RogerEbert.com** (64/100, inferred): The page appears to be a review of the specified film, but the browser challenge prevents access to the critic’s verdict. I can’t verify what the critic praised or criticized. [Read](https://www.rogerebert.com/reviews/the-last-showgirl-pamela-anderson-film-review)
- **Slant Magazine**, Rocco T. Thompson (2.5/4): Thompson finds the film fleeting and emotionally affecting, though its screenplay feels undercooked. He praises Pamela Anderson’s performance and the film’s empathy for the pressures facing aging women. [Read](https://www.slantmagazine.com/film/the-last-showgirl-review-pamela-anderson-gia-coppola-jamie-lee-curtis/)
- **Empire**, Miriam Balanescu (60/100, inferred): The critic finds the film somewhat half-hearted but sees it as an impressive showcase for Pamela Anderson. They praise Anderson’s performance and the film’s meditation on motherhood, ageing, and Las Vegas, while faulting its script and character development. [Read](https://www.empireonline.com/movies/reviews/the-last-showgirl/)
- **Little White Lies**, Mark Asch (4/3/3): Asch finds the film dreamy and low-key to a fault, yet pleasant and predictable. He praises Pamela Anderson’s distinctive voice and performance, while noting the mother-daughter material feels derivative. [Read](https://lwlies.com/reviews/the-last-showgirl)
- **Vulture**, Roxana Hadadi (55/100, inferred): Hadadi finds the film repetitive and meandering, but says Pamela Anderson’s performance gives it substance. She particularly praises Anderson’s earnest portrayal of Shelly’s pride in her work and the film’s evocative cinematography in Shelly’s movie room. [Read](https://www.vulture.com/article/the-last-showgirl-review-you-cant-ignore-pamela-anderson.html)
- **Sight and Sound**, BFI (35/100, inferred): The critic finds the film a cautious, forgettable comeback vehicle despite its appealing cast and melancholy mood. Anderson’s performance sparkles, but the film’s reliance on blurred lines between star and character ultimately reveals little. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/last-showgirl-cautious-comeback-vehicle-pamela-anderson)
- **The i Paper**, Christina Newland (35/100, inferred): Newland finds the film stylish but dramatically shallow, with relationships that lack depth. She praises Anderson’s delicate performance as the film’s main attraction. [Read](https://inews.co.uk/culture/film/pamela-anderson-wonderful-the-last-showgirl-review-shallow-superficial-3551114)
- **Variety**, Peter Debruge (30/100, inferred): Debruge finds the film disappointing, arguing that Pamela Anderson’s limited performance and the thinly written role keep it from becoming a convincing comeback. He singles out Jamie Lee Curtis as a fearless, scene-stealing presence, especially in her casino-floor dance. [Read](https://variety.com/2024/film/reviews/the-last-showgirl-review-pamela-anderson-1236159496/)
- **Deadline**, Pete Hammond (90/100, inferred): Hammond gives the film a glowing verdict, calling it smart, touching, funny, honest, and wise. He especially praises Pamela Anderson’s emotionally exposed performance, while noting that the film meanders at times. [Read](https://deadline.com/2024/09/the-last-showgirl-review-pamela-anderson-revelation-gia-coppolas-smart-story-vegas-toronto-film-festival-1236080602/)
- **Consequence**, Liz Shannon Miller (78/100, inferred): The critic finds the film unexpectedly universal and praises Pamela Anderson’s emotionally candid performance. The ensemble, especially Dave Bautista’s nuanced scenes with Anderson, also stands out. [Read](https://consequence.net/2025/01/the-last-showgirl-review-pamela-anderson/)
- **NME** (Recommended): The review finds the film evocative and moving, despite some meandering in its direction. It singles out Pamela Anderson’s warm, authentic performance and the cinematography’s capture of Vegas’s faded glamour. [Read](https://www.nme.com/reviews/film-reviews/the-last-showgirl-review-pamela-anderson-gia-coppola-3842005)
- **Film Stories**, Maria Lattila (76/100, inferred): The critic finds the film affecting and sincere, despite some overly simple themes and distracting visual softness. Pamela Anderson’s vulnerable, courageous performance is singled out as the film’s great strength. [Read](https://filmstories.co.uk/reviews/the-last-showgirl-review-pamela-andersons-star-is-reborn/)
- **The Wrap** (65/100, inferred): The critic finds the film uneven but says Pamela Anderson’s performance makes it worth watching. They single out her raw, daring portrayal as its main strength, while criticizing the underdeveloped supporting characters and conventional direction. [Read](https://www.thewrap.com/the-last-showgirl-review-pamela-anderson/)
- **Eye for Film**, Amber Wilkinson (55/100, inferred): Wilkinson finds the film stylish and often engaging, but says its visual flourishes and overly explicit moments weaken it. She praises Pamela Anderson’s performance and singles out Dave Bautista for bringing soulfulness to his role. [Read](https://www.eyeforfilm.co.uk/review/the-last-showgirl-2024-film-review-by-amber-wilkinson)
- **Paste**, Rory Doherty (5.6): Doherty finds the film underbaked despite its compelling central performance. He praises Pamela Anderson’s vibrant acting but faults the dialogue and the film’s failure to show Shelly dancing meaningfully. [Read](https://www.pastemagazine.com/movies/the-last-showgirl/the-last-showgirl-review-pamela-anderson-gia-coppola)
- **The Skinny**, Katie Driscoll (★★): Driscoll finds the film disappointing, overly saccharine, and emotionally hollow. She singles out Jamie Lee Curtis’s spontaneous casino dance to “Total Eclipse of the Heart” as one of its few highlights. [Read](https://www.theskinny.co.uk/film/new-releases/the-last-showgirl)

## Details

- **Director:** Gia Coppola
- **Director:** Gia Coppola
- **Screenplay:** Kate Gersten
- **Cinematography:** Autumn Durald
- **Editor:** Cam McLauchlin, Blair McClendon
- **Music:** Andrew Wyatt
- **Production design:** Natalie Ziering
- **Costume design:** Jacqueline Getty, Rainy Jacobs
- **Producer:** Natalie Farrey, Robert Schwartzman, Gia Coppola
- **Cast:** Pamela Anderson as Shelly; Jamie Lee Curtis as Annette; Dave Bautista as Eddie; Brenda Song as Mary-Anne; Kiernan Shipka as Jodie; Billie Lourd as Hannah; John Clofine as Poker Player; Jason Schwartzman as Director
- **Runtime:** 1h 29m
- **Certificate (ICAA):** 16
- **Release (Spain):** 26 September 2024
- **Genres:** Drama
- **Budget:** $2 million
- **Box office:** $6 million
- **Trailer:** https://www.youtube.com/watch?v=1H7AQkPIxZw

## Where to watch in Spain

Not streaming, renting or buying in Spain at the last check.

Also available in: AR, AT, AU, BR, CA, CL, CO, CZ, EC, FI, FR, GB, IE, IN, IT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, SE, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Gloria* (2013): Another woman allowed desire, awkwardness and a life beyond other people’s expectations.
- *The Wrestler* (2008), Fi1m 85: For another performer whose attachment to work makes everything outside it difficult. — [Fi1m page](https://film.one/film/the-wrestler.md)
- *The Dresser* (1983), Fi1m 80: Backstage labour and professional pride, with more attention paid to the supporting player. — [Fi1m page](https://film.one/film/the-dresser.md)
- *Support the Girls* (2018): Women at work receive the patient ensemble attention Shelly’s colleagues could have used.
- *Pina* (2011), Fi1m 80: For the dancing itself, and bodies expressing what dialogue cannot quite manage. — [Fi1m page](https://film.one/film/pina.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-last-showgirl