A probing film not only about the subjective nature of art but also about the hypocrisy of the intelligentsia, the pervasiveness of modern media, and the sincerity of parents.
My Kid Could Paint That (2007)
Tomatometer
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Reviews Counted:78
Fresh:73
Rotten:5
Average Rating:7.8/10
Consensus: Director Amir Bar-Lev grapples with exposing the authenticity of four-year-old Marla's paintings at the sake of burdening her publicly shamed family to transfixing results.
Theatrical Release:2007
Synopsis: In this fascinating documentary, filmmaker Amir Bar-Lev chronicles the rise and fall of child artist Marla Olmstead, the daughter of a dental hygienist and factory worker from upstate New York.... In this fascinating documentary, filmmaker Amir Bar-Lev chronicles the rise and fall of child artist Marla Olmstead, the daughter of a dental hygienist and factory worker from upstate New York. Marla was all of four years old when she sold her first abstract painting. When the New York Times published a piece about her prodigious talent, she became an overnight media sensation, and her paintings quickly began to sell for up to five figures. While many lauded her amazing ability--and even likened her to Picasso--her success also sparked heated debates about the true value of abstract art. Bar-Lev begins to explore this idea, as well as our culture's fascination with child prodigies, when the film suddenly takes a sharp and unexpected turn. The impetus is a piece on 60 MINUTES in which Charlie Rose suggests that Marla may not in fact be the sole creator of her work, and that her father--himself an amateur painter--is really the mastermind. The Olmsteads are stunned by the implication, and Marla quickly falls from grace with the art world. What follows is an unsettling but nonetheless riveting examination of Marla's family. Bar-Lev suddenly finds himself in a bit of an ethical conundrum: while he would like to get at the truth for the sake of the film, he is hesitant to cause further trouble for the Olmsteads, who have granted him intimate access to their lives. He ultimately leaves it up to viewers to decide what really happened--though for many, there will likely be little doubt as to the authenticity of Marla's work. As a documentary, the film works beautifully, raising a lot of big questions about truth in art, and even about the exploitive nature of documentary film. All this because of a four-year-old girl and her paint set. [More]
Director: Amir Bar-Lev
Director: Amir Bar-Lev
Producer: Amir Bar-Lev
Composer: Rondo Brothers
Studio: Sony Pictures Classics
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Reviews for My Kid Could Paint That
Bar-Lev exploits Marla as much as, if not more than, any other player in his movie.
It's a rare glimpse into the truth about the world and the art that tries to say something about it.
My Kid Could Paint That may not deal with life-or-death matters like murder or child molestation, but it raises questions that will nag viewers for days and weeks after the experience.
Mostly, the movie is a cautionary tale of the fragility of childhood innocence, with Marla becoming an enigma just by being her little-girl self.
Amir Bar-Lev's feature-filmmaking debut is easily one of the most fascinating documentaries you'll see all year.
My Kid Could Paint That is great theater, thereby proving that even a story as unique as this can’t stay fresh without a little media-manipulated drama.
A bit ragged around the edges technically, but makes up for the imperfections on that score with its engrossing content.
My Kid Could Paint That is documentary gold, and you will have formed an opinion on the controversy by the time you leave the theater. You may not know art, but you'll know what you like.
More than a standard child prodigy profile, My Kid Could Paint That turns into a priceless examination of modern art, celebrity and what it means to be a kid.
The self-reflexive narrative is particularly fascinating because Marla's story is so critical to selling her art; everyone involved, the filmmaker included, has a vested interest in proving it genuine or fake.
It's a thought-provoking look at the world of abstract art, the relationship between a reporter and his/her subject, and the nature of parenting, prodigies, and "objective" storytelling.
Documentarian Amir Bar-Lev began making a film about whether Modern art is a scam and whether a 4-year-old painter from Binghampton, N.Y., might not be as good as Picasso. But Bar-Lev ended making a film instead about whether the 4-year-old is a scam.
My Kid Could Paint That is a documentary that brings to the fore questions of youth exploitation, celebrity culture, the "con game" that is modern art and media's role in the whole tangled mess.
A true conundrum: You can't say for sure if a scam is in play or if a genuine genius is being smeared. And the brilliance of the film is that it doesn't let you feel secure in choosing either side.
Maybe the paintings (many of which are quite extraordinarily complex and beautiful) are indeed collaborations of a sort between Mark and Marla; should it matter?
My Kid Could Paint That is a fascinating portrait, as much about media manipulation, the art establishment and parenting as it is about a little girl who happens to like to paint.
While My Kid doesn't suggest that "truth is relative," it doesn't insist on a single judgment of truth. Instead, it asks viewers to ponder how certainty and doubt reinforce one another, how the need for truth creates its own truth.
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