THE STORY – A newly intimate look at one of the 20th century’s most celebrated — and imitated — artists, Jean-Michel Basquiat, from the perspective of the people who knew him best: his family.
THE CAST – N/A
THE TEAM – Quinn Whitney Wilson & Viridiana Lieberman (Director/Writer)
THE RUNNING TIME – 95 Minutes
As a personal look at one of the 20th century’s most celebrated artists, Netflix’s “Jean-Michel” feels like the definitive documentary on Jean-Michel Basquiat. Directed by Quinn Whitney Wilson and Viridiana Lieberman (the film editor for “The Perfect Neighbor“), the film benefits enormously from the full participation of Basquiat’s sisters, Lisane and Jeanine, as well as close friends and collaborators who help paint a flashy yet intimate portrait of Basquiat beyond his artwork. Efficiently conveyed through various uses of archival footage, photographs, home movies, and Basquiat’s own creations, the documentary captures both the brilliance of his creative spirit and the tragedy of a life cut far too short. More importantly, it reminds us why his work continues to resonate decades after his death and why his influence extends across generations, class, and race.
Born in Brooklyn in 1960, Basquiat’s artistic journey began long before galleries, museums, and auction houses turned him into a global icon. The documentary starts with Basquiat’s organic rise from the streets of New York, where he first gained attention through the graffiti tag SAMO©, and then his transition from street art to canvas. With the estate’s full participation, “Jean Michel” incorporates home video footage and photographs of Jean-Michel with his sisters, mother, and father to establish a strong connection to the young man by emphasizing the family relationships that shaped him, as well as his impact on them. His parents’ eventual split weighed heavily on him at a young age, but it also strengthened the bond he shared with his sisters, who are given most of the interview time as they recount Jean-Michel’s early years from their perspective before his life forever changed. Additional perspectives come from an impressive group of interview subjects, including Academy Award nominee Jeffrey Wright, who portrayed Basquiat in Julian Schnabel’s 1996 film “Basquiat.” Jennifer Goode, Basquiat’s girlfriend for a time, also offers honest reflections on the artist she knew before their breakup and his tragic passing.
Basquiat astonishingly never attended art school; he was just that gifted from the very beginning. The film does a great job of taking us inside his mind, helping us better understand not only his work but also how he produced it. His art often used repetition in words, symbols, designs, and patterns, producing pieces that felt chaotic yet intentional and understood by his colleagues. Acclaimed artists who initially could have viewed him as competition instead recognized his talent and welcomed him into their world, even at such a young age. Among them was Andy Warhol, whose mentor-like friendship with Basquiat was built on mutual respect and admiration. The scale of Basquiat’s productivity was quite staggering. Working at an unthinkable pace, he produced over 600 paintings and roughly 1,500 drawings before his death at the age of 27. Basquiat had no filter, and that rawness could be felt in his artwork, even if his personality was more introverted and soulful.
As his fame rose, so too did the scrutiny and criticism surrounding him. The documentary highlights the racism Basquiat faced from critics and journalists who struggled to categorize him, often trying to put him into a box, dismissing or misunderstanding his originality. One uncomfortably long interview showcases a white reporter asking a series of provocative questions that are racist and belittling in their nature. To his credit, he remained composed throughout, displaying a level of grace and intelligence that contrasted with the ignorance directed toward him. Those closest to him, though, are quick to point out that the reaction from critics did indeed bother him, and that is understandable considering how young he was and how quickly his life was changing.
Despite the estate’s participation, Quinn Whitney Wilson and Viridiana Lieberman do not shy away from the darker elements of Basquiat’s final months. The documentary carefully looks at his growing heroin addiction and how it amplified following Warhol’s death. Though the filmmakers never sensationalize these struggles, they make it clear that the demons Basquiat fought ultimately got the better of him. His death in 1988 remains heartbreaking because the film spends so much time showing us the warmth, curiosity, and humanity behind the myth. This was a human who touched so many people, and not just through his art. Curiously, though, the nature of his sexuality doesn’t feel as widely examined, with only a few mentions, but never stating anything in such a concrete manner. But probably the most effective creative decision Quinn Whitney Wilson and Viridiana Lieberman make in telling Jean-Michel’s story is that we never see the interviewees’ faces until a pivotal moment later in the documentary. Their voices are heard off-camera as we see clips from the archival material or flashes of Basquait’s artwork brilliantly edited to showcase their striking crativity. The effect creates an atmosphere around Basquiat’s memory that never comes off as haunting or mournful, but rather celebratory. When the documentary finally reveals his sisters’ faces on camera, the impact is powerful, offering the audience a human look at their grief that only magnifies the loss of their brother.
As is often the case for young artists who die too young, Basquiat’s popularity only grew after his death. His paintings are now among the world’s most expensive, selling for millions; his imagery appears everywhere, from fashion to advertising, and his influence can be found across countless artists working today. Through it all, “Jean-Michel” never loses sight of the person behind the iconography. With the loving recollections of his sisters and those closest to him, Wilson and Lieberman have crafted a lively portrait that serves as a moving tribute to one of the most influential artists of our time.
