Across three decades of directing and screenwriting Nicole Holofcener has long established herself as being incredibly good at making movies about grown ups with small problems that can also feel as big as the whole world.

In their fourth collaboration, director Kelly Reichardt and Michelle Williams reunite to bring a sensitively-rendered portrait of a working artist to the screen. Cinema is typically more interested in depictions of budding geniuses, dramatically troubled, foolishly unrecognized who go on to break history with blockbuster shows, but that’s never been Reichardt’s territory. Instead, working from a script written with frequent collaborator Jon Raymond, she centers the narrative in present-day Portland in the week leading up to a working ceramicist’s show at a neighborhood gallery show. What the film eschews in terms of fireworks are easily lifted by the rich textures that it observes.

One might worry that so many postponements portend disappointment, but set those trepidations aside. Like their dark hero, director Chad Stahelski and his indefatigable star Keanu Reeves are incredibly good at what they do: conducting symphonies of stylized violence and making it look so awesome that the near three-hour run time flies by.