All the Vermeers in New York

1992 ""

All the Vermeers in New York

6.4 | 1h27m | en | Drama

A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.

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6.4 | 1h27m | en | Drama , Comedy , Romance | More Info

Released: May. 01,1992 | Released Producted By: American Playhouse , Complex Corporation Country: United States of America Budget: 0 Revenue: 0 Official Website:

Synopsis

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Cast

Emmanuelle Chaulet , Stephen Lack , Grace Phillips

Director

Jon Jost

Producted By

American Playhouse , Complex Corporation

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Trailers & Images

Cast

Emmanuelle Chaulet

as Anna

All the Vermeers in New York I Want to Go Home Chocolat Boyfriends and Girlfriends

Stephen Lack

as Mark

All the Vermeers in New York Dead Ringers Perfect Strangers Scanners

Grace Phillips

as Felicity

Feds Truth or Consequences, N.M. Leave It to Beaver All the Vermeers in New York Voodoo Dolls

Reviews

busker-kevin Jon jost is an independent film-maker flying under the mainstream radar,quietly turning out masterpieces like this film.The plot is very simple, but this is really a film that is meant to be felt rather than thought about.The images are often breathtakingly beautiful-the camera's dance around the pillars is one of the most amazing sequences I've ever seen in any film-Jost can turn the mundane into poetry.And that's the point,Jost is a poet-not a craftsman.Like Lynch and Kubrick his films have a dream logic and work on a subconscious gut level.Turn off your mind relax and let this gorgeous,undiscovered gem of a film wash over you.A disturbing journey at times but always truthful and always beautiful.

pswitzertatum This is a beautiful film for those who can appreciate the odd light it casts. The camera work is fascinating and rich. The acting may seem arch to some and the plot obscure, but this film is certainly not boring. The focus on the intimate connection to the Vermeers in New York is a priceless exercise in the relationship between looking and seeing. Perhaps Jost's vision is rarified in some sense, or too slow and precise, but there is a wonderful and strange sort of redemptive illumination that permeates the whole movie. In many ways it is a better film for viewing at home where the intimacy of the mis en scene can be appreciated, and where one can look at certain scenes over and over. I think those who take the time to look carefully will savor this film.

N Bauman 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.

alberto f. cañas The slowest, emptiest and most boring picture I remember. Just a series of static shots, people talking about nothing, expendable characters (what do we care about the so-called singer that bothers her rommmates?), and artistic pretensions. The climax is supposed to be tragic, but is uncalled for and practically comic for unexpected, improbable and clearly just a way to finish a picture that threatened to be eternal.