Review of Kid-Thing (2012) by Matthew S — 03 Aug 2015

Art Theory 101: Art is largely what we bring to it.

I had only "read" about this Zellner Brothers production. I had read it described as surrealism, cinematic metaphor and a new take on the idea of "fable" or "parable." A couple of friends who are professional film critics disliked the movie, but more than just a few felt "Kid-Thing" had a good deal of merit.

"Kid Thing" is essentially a story about a neglected little girl. Her father is largely unconcerned and uncaring about his daughter. He is more interested in his own limited and pathetically vacant life. "Annie" spends her time alone. Even when she happens to be in the same room as her father or/and his loser pal -- she could just as easily be not there. It is not even clear if Annie bothers to go to school. When passively asked about school, Annie's response is that it is out due to a gas leak. Her comment is met with little to no response.

We follow Amy on her mundane "daze" walking about the small Texas town in which she lives. She steals from the local convenience store, she makes prank phone calls, she forages through storage closets, senselessly destroys things, shoots her paint gun at a dead cow carcass, bullies other children and stumbles upon a dry well in the forrest. An elderly female voice calls out for help. Annie is at first afraid, then curious and for a brief time imagines that the voice is that of The Devil.

Then everything takes on a far more sinister tone.

In the end, it feels as if we are seeing a sociopath emerging from a mixture of neglect and indifference. No one wants to be her friend. No one cares. Even the old woman trapped in the well begins to hate her as Annie seems to take "delight" or "amusement" in providing only the smallest amount of help.

Sidney Aguirre plays "Annie" with an effective blend of repressed rage and boredom. David Zellner has applied a great deal of style and thought into the staging of what we see. Every shot, every movement seems to have a promise or possibility of something important.

As the credits began to appear, the audience is left in a bit of a conundrum: What just happened? Is this literal? Is this indeed some form of "surrealism" or "cinematic metaphor?" Is this some new twisted take on child's fable? If so what is the parable to be learned?

I'm not sure any conclusion offers a clear answer.

Unattended, ignored, alone, lonely, bored and angry. However you want to look at it, poor Annie faces a void of one form or another. And she above all else seems to be aware.

I do disagree with my two friends who earn their living reviewing film. This is an intriguing and unique work of art. It is provocative and grim. But I could not look away. Very well executed film.