The anti-art heist film. Instead of the roguish, witty lead, we have Mark Landis, a man who barely speaks above a whispered mumble, walks with a slight hunch, prefers the company of his television and old TCM reruns, and doesn't scam museums for money as much as because he is alone and "addicted to being a philanthropist". Instead of our toe-to-toe detective character, always one step behind our dashing lead, we have Matt, a stay at home dad who was recently let go from his curator job because of his obsession with Mark Landis and who comes off either confrontative or somewhat rough-edged throughout. There's no big schemes or victims that Landis lays waste to other than museums and curators who are left looking like fools by his admittedly very convincing forgeries. It's a very quiet, unassuming documentary that gives way to one of the more fascinating character studies of recent memory. Landis's soft-spoken politeness borders on eerie at points but ultimately there's something endearing about his love of the game, his purehearted pleasure he gets out of just donating copies of paintings to museums, no questions asked. The other interesting character in the film is the art world at large who regards Landis at varying points with disgust, annoyance, and begrudging admiration. It's a fascinating look at what makes art art and its central figure is unlikely to be forgotten by viewers anytime after viewing.
The anti-art heist film. Instead of the roguish, witty lead, we have Mark Landis, a man who barely speaks above a whispered mumble, walks with a slight hunch, prefers the company of his television and old TCM reruns, and doesn't scam museums for money as much as because he is alone and "addicted to being a philanthropist". Instead of our toe-to-toe detective character, always one step behind our dashing lead, we have Matt, a stay at home dad who was recently let go from his curator job because of his obsession with Mark Landis and who comes off either confrontative or somewhat rough-edged throughout. There's no big schemes or victims that Landis lays waste to other than museums and curators who are left looking like fools by his admittedly very convincing forgeries. It's a very quiet, unassuming documentary that gives way to one of the more fascinating character studies of recent memory. Landis's soft-spoken politeness borders on eerie at points but ultimately there's something endearing about his love of the game, his purehearted pleasure he gets out of just donating copies of paintings to museums, no questions asked. The other interesting character in the film is the art world at large who regards Landis at varying points with disgust, annoyance, and begrudging admiration. It's a fascinating look at what makes art art and its central figure is unlikely to be forgotten by viewers anytime after viewing.
