If you believe the story told in this documentary—and some people don’t— New Yorkers Henry Joost and Ariel Schulman didn’t set out to make a feature, but just to document the friendship between Ariel’s photographer brother, Nev, and an eight-year-old girl in Michigan. We’ve all heard cautionary tales of grown men and children online, but this is nothing like that, although the anonymity afforded by the Internet is part of the story. It seems that the girl had sent Nev a painting of a photo of his that had been published. And it was good, not My Kid Could Paint That good, but really good. And so, as the movie tells it, Nev began to chat online with the girl, her mother, and her older sister, who seems attractive—and age-appropriate—to Nev. More surprising developments ensue, the details of which are best unknown to anyone planning to see the movie.
Besides the storyline, the film points to the effects of technology on moviemaking and ordinary lives. The filmmakers use portable video cameras to create something that wouldn't have been possible a few years ago. Unless the film is a complete fiction, Joost and the Schulmans wouldn’t have had any reason to document the early part of the story. Yet because Facebook leaves a trail, they're easily able to re-create the history that seemed too trivial to film at the time. Much of the early part of the movie is shots of computer screens, and probably this kind of thing will become trite, but seems novel now. Later, a GPS figures into the story, and cell phones are one key to the mystery that unfolds.
Besides the storyline, the film points to the effects of technology on moviemaking and ordinary lives. The filmmakers use portable video cameras to create something that wouldn't have been possible a few years ago. Unless the film is a complete fiction, Joost and the Schulmans wouldn’t have had any reason to document the early part of the story. Yet because Facebook leaves a trail, they're easily able to re-create the history that seemed too trivial to film at the time. Much of the early part of the movie is shots of computer screens, and probably this kind of thing will become trite, but seems novel now. Later, a GPS figures into the story, and cell phones are one key to the mystery that unfolds.
Yet the reason Catfish winds up being something more than a great yarn you could tell someone at a party—no movie needed—is the humanity behind the technology. There’s a point in which the film seems like it may be a little mean-spirited, and then it becomes almost sweet. And the way that happens is really the second big surprise. No doubt the movie is better if you know less about it. But even if I had known the big spoiler everyone’s taking pains not to reveal, the last half would have still been worth a look.
IMDB link
viewed 9/15/10 at Ritz 5 [PFS screening] and reviewed 9/16–26/10
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