| Photos (See all 14 | slideshow) | Videos (see all 4) |
| Amir Bar-Lev | ... | Himself | |
| Anthony Brunelli | ... | Himself | |
| Elizabeth Cohen | ... | Herself | |
| Jonathan Crosby | ... | (voice) | |
| Ron Curtis Jr. | ... | (voice) | |
| Michael Kimmelman | ... | Himself | |
| Laura Olmstead | ... | Herself | |
| Mark Olmstead | ... | Himself | |
| Marla Olmstead | ... | Herself | |
| Zane Olmstead | ... | Himself | |
| Celeste Russi | ... | (voice) | |
| Tara Sands | ... | (voice) | |
| Stuart Simpson | ... | Himself | |
| Jackie Wescott | ... | Herself |
Directed by | |||
| Amir Bar-Lev | |||
Produced by | |||
| Amir Bar-Lev | .... | producer | |
| John Battsek | .... | executive producer | |
| Stephen Dunn | .... | co-producer | |
| Richard Klein | .... | executive producer: BBC | |
| Sara Nolan | .... | associate producer | |
| Andrew Ruhemann | .... | co-executive producer | |
Original Music by | |||
| Rondo Brothers | |||
Cinematography by | |||
| Matt Boyd | (director of photography) | ||
| Nelson Hume | |||
| Bill Turnley | |||
Film Editing by | |||
| Michael Levine | |||
| John W. Walter | (as John Walter) | ||
Production Management | |||
| Christopher Kenneally | .... | post-production supervisor | |
Sound Department | |||
| Ryan Carroll | .... | sound recordist | |
| Mark Garcia | .... | adr mixer | |
| Marlena Grzaslewicz | .... | supervising sound editor: 701 Sound | |
| Eric Offin | .... | sound re-recording mixer | |
| Paul Sacco | .... | dolby sound consultant | |
| Ira Spiegel | .... | sound effects editor: 701 Sound | |
| Ryan Zappin | .... | sound | |
Camera and Electrical Department | |||
| Amir Bar-Lev | .... | additional camera operator | |
| Bryan Donnell | .... | additional camera operator | |
| Guy Fiorita | .... | additional camera operator | |
| Jason Lelchuk | .... | additional camera operator | |
| Rachel Libert | .... | additional camera operator | |
| Jenna Rosher | .... | additional camera operator | |
| Jenna Rosher | .... | camera operator | |
| Laleh Soomekh | .... | additional camera operator | |
| John W. Walter | .... | additional camera operator (as John Walter) | |
| Dan Zappin | .... | additional camera operator | |
Animation Department | |||
| Anthony Kraus | .... | animator: Noisy Neighbor Productions | |
| Stefan Nadelman | .... | animator: Tourist Pictures | |
Editorial Department | |||
| Anne Alvergue | .... | additional editor | |
| Tricia Chiarenza | .... | color timer | |
| Will Cox | .... | on-line editor: Final Frame | |
| Penelope Falk | .... | additional editor | |
| Liam Lawyer | .... | additional editor | |
| Aaron Lubarsky | .... | additional editor | |
| Sandy Patch | .... | assistant on-line editor | |
| Gabriel Rhodes | .... | additional editor | |
| Trevor Ristow | .... | additional editor | |
Music Department | |||
| Jeff Daniel | .... | music supervisor: Rock River Music | |
| Mariusz Glabinski | .... | music editor | |
| Jeff Booth Diamond Ring | .... | music licensing: Rock River Music (as Jeff Diamond) | |
| Jeff Booth Diamond Ring | .... | music supervisor: Rock River Music (as Jeff Diamond) | |
Other crew | |||
| Jessica Berman Bogdan | .... | clearances (as Jessica Berman-Bogdan) | |
| Jessica Berman Bogdan | .... | researcher (as Jessica Berman-Bogdan) | |
| Paul Brennan | .... | legal services: Sloss Law Office | |
| Peter Broderick | .... | consultant | |
| Jonathan Crosby | .... | consultant | |
| Carl Deal | .... | archival consultant | |
| Winston Emano | .... | publicist | |
| Craig A. Emanuel | .... | legal services: Loeb & Loeb (as Craig Emanuel) | |
| David Fox | .... | legal services (as David Fox Esq.) | |
| Steven Gravatt | .... | production intern | |
| Jo Haslam | .... | production intern | |
| Peter Jaszi | .... | legal services | |
| Noah Kistler | .... | production intern | |
| Julia Landau | .... | production intern | |
| Melanie Vi Levy | .... | production intern (as Melanie Levy) | |
| David Magdael | .... | publicist | |
| Holly Cara Price | .... | clearances | |
| Holly Cara Price | .... | researcher | |
| Benjamin Rutkowski | .... | production intern | |
| Steve C. Schechter | .... | legal services (as Steven C. Schechter) | |
| Tina Shaerban | .... | production intern | |
| Emi Takahara | .... | production intern | |
| Stephen Trapp | .... | production intern | |
| Anne Stulz | .... | publicist (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
A new sensation has arrived in the modern art world what started out as paintings sold for a few hundred dollars in a local restaurant has seen the artist garner national and international press coverage, well-selling shows in New York and comparisons to the world of classics. Thing is, the artist is a four year old girl called Marla, who apparently is painting these oils without help from either parent who are both quite taken aback by the interest and profitability of their daughter. Filmmaker Amir Bar-Lev spends hundreds of hours with the family, from the rise to fame into the period where Marla's work comes under question.
It was a fellow reviewer that mentioned this documentary to me a while back and when I saw it on television recently I decided to check it out. For the first half of the film I was catching up with the story as I had never seen or heard anything about this little girl before. To those already familiar with her then I suspect the first half of the film will not that that engaging but for me I found it interesting. Via the media coverage Bar-Lev is able to put questions like "what is art?" on the table even if he personally doesn't do much with them. The problem comes in the second part of the film because it is here where an interesting "last segment on the news" story gets more complex. Questions are asked and the answers are unconvincing with limited evidence to silence the doubts. Nothing is ever conclusive and Bar-Lev cannot do a "Theroux" and coax anything out of the parents of value. I still found it interesting because the paintings are hard to believe and I was starting to wonder myself particularly when you see Marla actually painting herself and they do look more like kid's stuff than the impressive creations on sale. But Bar-Lev doesn't seem sure what to do with this and as a result the film stutters to an unsteady conclusion where really it needed to be conclusive even if that conclusion is inconclusive (if you see what I mean).
As it is though, this documentary is interesting and it is only a shame that someone more able could have had the access Bar-Lev did, just to see how it could have turned out rather than how it did.