The three young artists at the center of the dark comedy “Paint” are alternately sympathetic, self indulgent and insufferable. That seems to be the point. Writer-director Michael Walker no doubt encountered plenty of egotistical yet insecure creative types while a student at NYU’s Tisch School of the Arts. He first explored “Paint” as a 2018 short. Most of the cast has returned for the feature version.
“Paint” takes aim at the pretentiousness of artists but understands that it is fueled by self-doubt in a world ruled by intense competition and the fickle judgement of the marketplace.
“Paint” opens with an art class led by an instructor (Austin Pendleton) who berates the students about individuality and realities of the artistic life. With teachers like him it’s no wonder the graduates have no idea how to navigate “artist” as both vocation and calling. None of the three Pratt grads of “Paint” are particularly successful. Dan (Josh Caras) thinks he hasn’t suffered enough to make meaningful art; his buddy Quinn (Paul Cooper) adopts an angry young man pose and considers himself above the commercial art world; and Kelsey (Olivia Luccardi) who may be the most genuinely talented of the trio juggles a menial job and resentment of a less gifted classmate whose “vagina paintings” are all the rage.
It makes sense given their ages and insecurities that the three friends are preoccupied with sex and that it’s often transactional, even if the film relies too heavily on their sexual exploits. Kelsey beds the older artist she admires but, no surprise, he turns out to be a grifter who adviser Kelsey to use the experience to her advantage. Vince Nappo plays a sleazy gallery owner who in turn pushes Kelsey to win the affections of a trust fund brat (François Arnaud) who can advance her career.
Meanwhile, Josh pressures Quinn to take nude photos of his mother (Amy Hargreaves) because Josh is somehow convinced this is edgy instead of icky. Quinn obliges but takes the assignment too far causing a rift between the two young men. Still seeking his dark side, Josh decides to experiment with heroin and ends up in a seedy flat populated by junkies begging him to pay the briefcase-toting dealer so they can get their fix. It’s an uncomfortable scene that's more disturbing than sardonic and seems out of place..
