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Title: All the Vermeers in New York (1990)
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2 wins & 2 nominations.
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Cast
| Complete credited cast: | |||
 |
Emmanuelle Chaulet | ... | Anna |
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Katherine Bean | ... | Nicole |
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Grace Phillips | ... | Felicity |
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Laurel Lee Kiefer | ... | Ariel (as Laurel Kiefer) |
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Gracie Mansion | ... | Gallery Owner |
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Gordon Joseph Weiss | ... | Gordon |
| Stephen Lack | ... | Mark | |
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Roger Ruffin | ... | Max |
Edit
Plot Summary
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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 Keywords:
actress | world trade center manhattan new york city | wall street manhattan new york city | metropolitan museum of art manhattan new york city | manhattan new york city |Parents Guide:
Add content advisory for parents »
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Details
Country:
USALanguage:
EnglishRelease Date:
1 May 1992 (USA) See more »Also Known As:
Tutti i Vermeer a New York See more »Filming Locations:
New York City, New York, USAEdit
Box Office
Budget:
$250,000 (estimated)Gross USA:
$142,721Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
StereoColor:
ColorAspect Ratio:
1.85 : 1
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Did You Know?
Connections
Featured in Siskel & Ebert: Lethal Weapon 3/The Favour, the Watch and the Very Big Fish/The Waterdance/Night on Earth/All the Vermeers in New York (1992) See more »Frequently Asked Questions
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This literary, in many respects experimental film examines the parallels between the art world and the business world, through the relationship between an actress and a stockbroker who meet in the Vermeer Room of the Metropolitan Museum of Art.
The film is much more interesting for its cinematography and narrative style than its plot. In keeping with its subject matter, the photography tries to emulate Vermeer's paintings, with some shots of Emmanuelle Chaulet being particularly successful. Furthermore, rather than having a linear plot, the narrative takes the form of a mosaic linking the different characters, bringing to mind a minimalist short story.
This is not to say the film is for all tastes. Some scenes, such as where Anna and the stockbroker first meet, drag on for too long. Furthermore, some of the dialogue, particularly Stephen Lack's, comes across as overly metaphorical and stilted, though this should not be a surprise given that it was supposedly improvised.
On the whole, a film worth seeing for a look at when the art house film scene really was arty, before the indie film boom led to the scene being co-opted by corporations.