{"id":1644,"date":"2026-06-09T04:36:45","date_gmt":"2026-06-09T04:36:45","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=1644"},"modified":"2026-06-09T04:36:45","modified_gmt":"2026-06-09T04:36:45","slug":"jean-michel-review-jean-michel-basquiat-finally-gets-the-fantastic-documentary-he-deserves","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=1644","title":{"rendered":"\u2018Jean-Michel\u2019 Review: Jean-Michel Basquiat Finally Gets the Fantastic Documentary He Deserves"},"content":{"rendered":"
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\n\t\u201cJean-Michel\u201d is the Jean-Michel Basquiat documentary we\u2019ve been waiting for \u2014 the fantastic one he deserves. Over the years, there have been a sprinkling of films built around Basquiat, like the boho v\u00e9rit\u00e9 snapshot \u201cDowntown 81\u201d (2000) or \u201cBoom for Real: The Late Teenage Years of Jean-Michel Basquiat\u201d (2018), which captured the period in the late \u201970s after he\u2019d broken with his family, when he was a scene-maker cultivating the seeds of his art and fame. Both those films are heady time capsules, and so, in a different way, is Julian Schnabel\u2019s \u201cBasquiat\u201d (1996), a biopic \u2014 starring the hypnotic Jeffrey Wright \u2014 that was way ahead of the curve in recognizing the poetic sway of Basquiat\u2019s art and image.<\/p>\n

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\n\tBut \u201cJean-Michel,\u201d directed by Quinn Whitney Wilson and Viridiana Lieberman (it just premiered at the Tribeca Festival and was bought by Netflix), is the first movie to penetrate the Basquiat mystique and give you a full-scale portrait of who he was: New York child of privilege, driven prodigy, bohemian scavenger, downtown rock star, thrill-seeking junkie, media celebrity, meditative soul, spiky and timeless art genius. It\u2019s the first Basquiat film to be made in cooperation with his family, who provided the archive \u2014 home movies, photographs, sketches, notebooks \u2014 that fills in Basquiat\u2019s life as never before.<\/p>\n

\n\tWhen the family estate cooperates in a biography, it can mean the rough edges are sanded off \u2014 that you\u2019re getting a burnished, officially approved portrait. But that\u2019s not what happens in \u201cJean-Michel.\u201d I\u2019m sure there are sordid details that were left on the cutting-room floor (and it\u2019s jarring that the movie leaves out his relationship with the artist Suzanne Mallouk), but the film is bracingly direct about who Basquiat was, his many dimensions and contradictions. He was a singularly charismatic and, by most accounts, ingratiating person, so it\u2019s not like the film has to fudge that, but he could also be moody and jealous and ruthless (at an opening at the Whitney, he used a pen to deface one of Schnabel\u2019s paintings). He was like a planet revolving around himself, and the film does justice to the light and dark sides of that orbit.<\/p>\n

\n\tThe closest thing \u201cJean-Michel\u201d has to an agenda is to undercut a stubbornly persistent dimension of the Basquiat legend: that he was a \u201cprimitive\u201d genius who rose up out of the streets. It\u2019s important to say that we have this image, in part, because it was cultivated by Basquiat himself. But the media dug the myth a little too much; their consuming embrace of it carried a racist undertone, as if Basquiat could only be understood as a derelict version of virtuosity.\u00a0\u00a0\u00a0<\/p>\n

\n\tIt\u2019s true, of course, that he started off as an underground graffiti artist who named himself SAMO (for \u201csame old shit\u201d) and ultimately crossed over to the gallery world. And it\u2019s true that he went through a self-styled homeless period. But \u201cJean-Michel\u201d fills in the ground floor of his life \u2014 that his father, Gerard, a Haitian immigrant who became a New York businessman, and his mother, Matilde, a fourth-generation Puerto Rican, raised him and his two younger sisters in a Brooklyn brownstone that the family owned. They were a close-knit clan, and Jean-Michel was doted on by his mother. He attended private school and wanted to be a cartoonist. But he\u2019s described by his adult sisters, Lisane and Jeanine, as a ball of unruly energy who couldn\u2019t settle down in class; he was too much of a rebel dreamer.<\/p>\n

\n\tHis life took a turn after he was hit by a car (at age 7), and his parents divorced. (In the film, the prospect of losing his family devastated the young Jean-Michel.) Matilde, who had cultivated the love of art in him, declined into mental illness once she was on her own, and his father was basically a 1950s straight-arrow who wanted to shoehorn Jean-Michel into the American Dream. Jean-Michel was having none of that, so in his teens, stoked by the post-punk fervor of the late \u201970s, he ran away from home. It\u2019s crucial to note that this was happening at a moment, at least in New York, when squatting had become hip. Madonna did it too, and she and Basquiat had a fling as she was on the verge of fame.<\/p>\n

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\n\tWhat\u2019s striking about Basquiat\u2019s creativity, which the documentary captures with a seductive, voluminous presentation of the development of his art, is that he was a fountain that never turned off. We see samples of his art as a child, and there\u2019s no question that as he got older he deliberately hung onto and refined elements of that blotchy, scalding style; he saw the expression of his childhood self as the ultimate freedom. Yet by the time he\u2019d reached his teens (he began painting at 15), and was selling postcards on the street for a few dollars, his work had begun to acquire the vibratory quality that made it seem like you were staring at psychological X-rays. \u201cThere is no filter,\u201d says one observer. \u201cYou\u2019re looking inside his brain.\u201d That\u2019s exactly<\/em> the talismanic quality of Basquiat\u2019s paintings. He used mixed media (words, collage, geometric piping, icons like the repeated use of a crown, erupting scrawls) to make it feel like you were downloading his soul in its distilled form. The paintings were incantations, shot through with rapture and anxiety, threaded with a secret coded history of the culture. Basquiat looked into himself and saw the world \u2014 of Black experience, and of American experience \u2014 and then reflected that world back to us.<\/p>\n

\n\tGrowing up, Jean-Michel Basquiat chose to be a drifting bohemian, but the nightclub culture that became his second home was starting to interact with the media in a new way. We see clips of Basquiat on \u201cTV Party,\u201d the New York cable public-access show, where he sat around with people like Christ Stein and Fab 5 Freddy. For a while, his hair is shaved into a widow\u2019s-peak dagger, but what\u2019s disarming about his presence is how gentle and gregarious it is. We see interview segments where he lets his guard down, and also ones where he reveals himself by revealing next to nothing. He\u2019s notably more wary in the interviews he began to give when he was getting famous. One takes place in his loft studio, and as the interviewer nudges him with questions about a painting, all tethered to a kind of racist skepticism (Why did you make that choice? Is it all arbitrary<\/em>?), Basquiat fends off the cluelessness by creating an aura of invincibility around himself very much like that of Bob Dylan in the mid-\u201960s.<\/p>\n

\n\tIf you go to see a Jean-Michel Basquiat retrospective (and this movie has the effect of one), it\u2019s astonishing to confront everything he painted, and the maturity of it, all before he died at the age of 27. It\u2019s no hype to say that he can remind one of Picasso. There is only one Picasso, but Basquiat had that kind of fecund imagination, that endlessly varied and prolific joy. He worked fast, and took refuge in his work much as Picasso did. By the time he became buddies with Andy Warhol, Jean-Michel was the one doing the inspiring. The movie colors in their friendship, which we can see was quite close; they each got something out of the other, but it\u2019s also clear that they adored each other. That\u2019s why Warhol, after decades of not painting by hand, was moved to start again, in what became a collaborative project. The critics hated it, and they were too harsh; they couldn\u2019t process the dual authorship, and by then they had turned, almost reflexively, on Warhol. The bad response soured the friendship\u2026.and then Warhol died. This left Jean-Michel without the mentor who had been a fulcrum for him.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

\n\tHe returned to his family, showing up in Brooklyn in a limo one day, handing out money, but in a way he was lost. Jennifer Goode, a girlfriend of his from 1984 to 1988, tells the story of his heroin addiction (she was his partner in junk), and how they would go to Hawaii so that he could get clean. They travelled extensively for his art openings around the world, and Jean-Michel would power through when he was someplace where he couldn\u2019t get drugs. He should have gone to rehab, but he was deeply private, like Philip Seymour Hoffman, who also felt himself to be invincible and used heroin to self-medicate his way into an early grave. The film presents some evidence that Basquiat, near the end, was losing interest in art (he talked about wanting to become a writer). But I don\u2019t believe that. He lived and breathed painting; it\u2019s hard to conceive of him abandoning it. The paintings, of course, now sell for so much that they have put him on that rarefied level, along with Van Gogh and Francis Bacon and Picasso. There are still Basquiat doubters who think that\u2019s a travesty. Don\u2019t listen to them. Decide for yourself by seeing \u201cJean-Michel.\u201d<\/p>\n

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\t\t\u2018Jean-Michel\u2019 Review: Jean-Michel Basquiat Finally Gets the Fantastic Documentary He Deserves<\/p>\n<\/h2>\n

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\t\tReviewed at Tribeca Festival (Feature Documentary), June 6, 2026. Running time: 95 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \nA Netflix release of a Boardwalk Pictures, Indus Valley Media, Radiant Media Studios production. Producers: Jordan Wynn, Andrew Fried, Harlin Lawal, Lana Barkin, Dane Lillegard, Ileen Sheppard Gallagher, Will Cohen, Quinn Whitney Wilson, David Laven. Executive producers: Jeanine Heriveaux, Lisane Basquiat, Rob Guillermo, Nihaar Sinha, Louis Krubich, Dan Fried, Ray Maiello, Travis Kelce, Rhodes McKee, John Janick, Steve Berman, Michelle An, John Terzian, Jeremy Allen, Katherine L. Oliver, Lindsay Firestone, Anthony Konigbagbe, James Cunningham, Emi Stewart, Max Allman, J.M. Harper, Henrik Molin, Ron Beck.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirectors: Quinn Whitney Wilson, Viridiana Lieberman. Camera: Jo Jo Lam. Music: James William Blades.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nLisane Basquiat, Jeanine Heriveaux. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    It\u2019s the first Basquiat film built around his family’s archive, and it’s also the first to penetrate the Basquiat mystique.<\/p>\n","protected":false},"author":1,"featured_media":1643,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[1488,1487],"class_list":["post-1644","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-jean-michel-basquiat","tag-jean-michel"],"yoast_head":"\n\u2018Jean-Michel\u2019 Review: Jean-Michel Basquiat Finally Gets the Fantastic Documentary He Deserves - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=1644\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Jean-Michel\u2019 Review: Jean-Michel Basquiat Finally Gets the Fantastic Documentary He Deserves - 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