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.
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.
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.