She’s standing on a stage in Las Vegas, wearing a bedazzled police hat and a rhinestone bra, telling a lie about her age. She says she’s 36. In reality, the character—and the actress—is pushing sixty. This is the opening of The Last Showgirl, and if you thought you knew what a "Pamela Anderson new movie" looked like, you’re probably wrong.
Honestly, it’s a bit of a shock. For decades, the world saw Pamela Anderson through a very specific, very plastic lens. Red swimsuits. Slow-motion running. Tabloid headers. But in Gia Coppola’s latest drama, which finally hit theaters in wide release on January 10, 2025, that image is stripped bare. Gone is the heavy contouring and the "Barbed Wire" persona. In its place is Shelly, a veteran dancer at a crumbling revue called Le Razzle Dazzle.
Shelly has been doing the same show for 30 years. Then, the stage manager, played by a surprisingly tender Dave Bautista, drops the hammer: the show is closing. Just like that. Three decades of feathers and sequins, gone in a blink.
What Most People Get Wrong About Shelly
People want to call this a "meta" movie. They want to say she’s just playing herself. That’s lazy.
While there are definitely parallels between a woman being "aged out" of Vegas and an actress being aged out of Hollywood, Anderson isn't just wink-nodding at the camera. She’s doing real work. Shelly is delusional, sure, but she’s also incredibly resilient. She treats her choreography like a sacred ritual, practicing at home by projecting old videos on her wall.
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It’s about obsolescence. It’s about what happens when the world decides the thing you’re best at doesn't matter anymore.
The Creative Powerhouse Behind the Lens
Gia Coppola—granddaughter of Francis Ford, for those keeping track of the family tree—shot this thing in just 19 days. It shows. But not in a "cheap" way. It feels raw.
The film was shot on Super 16mm film. It has this grainy, tactile texture that makes the neon lights of the Vegas strip look like a fading memory rather than a tourist brochure. Coppola isn't interested in the Bellagio fountains; she’s interested in the parking lots, the dingy dressing rooms, and the "hidey-holes" in old Vegas houses.
A Cast That Actually Works
The ensemble is stacked, but it doesn't feel like "stunt casting."
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- Jamie Lee Curtis: She plays Annette, a former showgirl turned casino waitress. She’s Shelly’s best friend and reality check.
- Dave Bautista: As Eddie, the producer. He’s the one who has to break everyone’s heart, and he plays it with a heavy, quiet sadness.
- Billie Lourd: Playing Hannah, Shelly’s estranged daughter. Their scenes are painful. Hannah harbors a lot of resentment for being second-place to the stage.
- Kiernan Shipka and Brenda Song: The "next generation" of dancers who are already looking for the exit while Shelly is trying to hold the door shut.
Why the Awards Buzz is Real
If you’ve been following the festival circuit, you know the praise started back at TIFF (Toronto International Film Festival) in September 2024. People were crying. Critics were scrambling for adjectives.
By the time January 2025 rolled around, the industry had to take notice. Anderson snagged a Golden Globe nomination for Best Actress in a Drama. She followed that up with a SAG Award nod. It’s the kind of "payback" she’s talked about in interviews—a way to finally be seen for her craft rather than her personal life or that unauthorized Hulu series she famously hated.
There’s also that Miley Cyrus song, "Beautiful That Way." It’s the emotional backbone of the soundtrack. It captures that specific "old Hollywood" nostalgia that Shelly clings to.
The Naked Gun and the 2025 "Pam-aissance"
The Last Showgirl isn't the only thing on her plate, though it’s definitely the heart of her comeback. If you’re looking for the comedy side of the "Pamela Anderson new movie" wave, she’s also starring in the Naked Gun reboot opposite Liam Neeson.
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That one’s a total 180. It’s absurdist, it’s silly, and it’s set to hit theaters in August 2025. It’s a wild career pivot—going from a gritty indie drama about aging to a slapstick comedy remake. But maybe that’s the point. She’s finally allowed to have a "career" with range, rather than being stuck in a box.
What to Expect If You Watch It
Don't go in expecting Showgirls. This isn't a high-camp glitter fest. It’s a quiet, 89-minute character study.
The movie asks a pretty uncomfortable question: Is Shelly a hero for sticking to her passion, or is she a cautionary tale for not knowing when to quit? Coppola doesn't give you an easy answer. She leaves the needle moving.
Basically, if you’re a fan of films like The Wrestler or Tár—movies that look at the cost of being an artist—this is going to hit home. It’s less about the dance and more about the dancer's face when the music stops.
Practical Next Steps for Fans
- Check Local Listings: While it had a wide release in January 2025, it’s still hitting boutique cinemas and art houses.
- Watch the Documentary First: If you haven't seen Pamela, A Love Story on Netflix, watch it. It provides the emotional context for why this performance in The Last Showgirl feels so heavy.
- Listen to the Soundtrack: Andrew Wyatt’s score and the Miley Cyrus track are worth a spin on their own. They capture the "fading glitz" vibe perfectly.
- Keep an Eye on the Oscars: Final nominations usually land in late January. Whether she gets the nod or not, the performance has already shifted the narrative of her entire career.
This isn't just another movie. It’s a total reclamation of a woman’s identity. It’s messy, it’s grainy, and it’s surprisingly beautiful. Shelly might be the "last" showgirl, but it feels like Pamela Anderson is just getting started.