6.8/10
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15 user 6 critic

All the Vermeers in New York (1990)

Anna, a French actress, is approached by financial broker Gordon in the Vermeer room of a New York gallery. However, romance does not ensue...

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2 wins & 2 nominations. See more awards »
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Cast

Complete credited cast:
Emmanuelle Chaulet ...
Anna
Katherine Bean ...
Nicole
Grace Phillips ...
Felicity
Laurel Lee Kiefer ...
Ariel (as Laurel Kiefer)
Gracie Mansion ...
Gallery Owner
Gordon Joseph Weiss ...
Gordon
...
Mark
Roger Ruffin ...
Max
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Storyline

Anna, a French actress, is approached by financial broker Gordon in the Vermeer room of a New York gallery. However, romance does not ensue...

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

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Details

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Release Date:

1 May 1992 (USA)  »

Also Known As:

Tutti i Vermeer a New York  »

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Box Office

Budget:

$250,000 (estimated)

Gross USA:

$142,721
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

1.85 : 1
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Did You Know?


Soundtracks

Music
Performed by The Bay Area Jazz Composers Orchestra
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User Reviews

A lot of depth and lets you find it on your own terms
10 February 2001 | by See all my reviews

In this review I reveal why the movie is entitled "All The Vermeers In New York". I don't think knowing this spoils the film, though.

People's expectations of a film reflect a lot about them. A lot of people expect to be moved watching a film when the music swells. They expect to get excited when the shots are cut faster. This film allows you to get excited or moved about what's going on because of what is happening to the _people_, not the camera or the music. Films that cut the "crap" of "high-quality" production values and concentrate on character and story show how our ordinary lives achieve a cool, plausable if brief potentiality for soaring.

This film works on this premise, and that's why I love it. It's really a fairly wrenching story that gets told by the people, not as much by the camera and soundtrack (although the shooting and music are brilliantly understated). I identified very closely with the high-powered New York currency trader who couldn't live with himself unless he could come to the museum to gaze at the Vermeer portraits. It allows him to cross the threshold of his own limited life staring at a stock-ticker into a world of pure love, desire and ultimately, hope.

To Jost, nothing seems ordinary, unalive. He is the Van Gogh of film makers. If he made a film about pebbles in the gutter, it would be worth watching.


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