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All the Vermeers in New York 1991
Description: Anna, a French actress, is approached by financial broker Gordon in the Vermeer room of a Fresh York gallery. However, romance does not ensue...
Released: 01 May 1992 Director: Jon Jost Writers: Jon Jost Actors: Emmanuelle Chaulet, Katherine Bean, Grace Phillips, Laurel Lee Kiefer Genres: Comedy, Drama, Romance
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All the Vermeers in New York Reviews:

The movie starts with a static shot of the tops of buildings, towers and spires, an unnamed town that looks old and European but eventually turns out to be Manhattan. Three young, cute female roommates in a large apartment, one an aspiring actress, other a singer, the third involved in the art world. There's some cutesy, inconsequential dialogue; we are struck right away with the director's command of image, sound (particularly off-screen) and his exquisitely place together sets. Later we transport to an art gallery setting, a young boy in a leather jacket arguing angrily with a dealer who is trying to sell his work -- will he be the protagonist? The movie in its first couple of reels doesn't give us any answers here; the boy leaves with a wealthy patron and potential buyer, but we don't follow them and transport on instead to other a brief stage set in the financial world, as a broker or buyer of some type (Stephen Lack) alternates between shouting about business and some type of private problems on the phone. Close on the heels of this scene, we enter other segment of the art world, as one of the roommates - aspiring French actress and student Anna (Emmanuelle Chaulet) is seen perusing the old masters - chiefly Rembrandt and Vermeer - at what turns out to be the Metropolitan Museum of Art, and is in turn perused by our stockbroker, who hands her a note at which mission she leaves.This is the stage that introduces the spectacular and fairly indescribable avant-jazz/classical score by Jon English, one of the greatest soundtracks I've ever heard, and it also seems to introduce the rest of the movie as we will actually focus on these characters, and on the hard lives they lead while being surrounded by and comforted by all the nice art - photography, painting, melody and architecture - that suffuses the film. An awkward stage in which Anna pretends to not speak English and is accompanied by her roommate Felicity (Grace Philips) as pretend-translator meets Tag (Lack) at a restaurant seems distancing and off-putting, and it seems very uncertain as to whether these two can -or should- meet again. There's also a very subtle and only briefly stated minor theme here about "home" and what it means; Tag is clearly Canadian and Anna French, and neither seems to really be comfortable - in Mark's case, with his profession and his inner life, in Anna's with America and perhaps her career.Is Tag some type of creepy stalker? Is Anna a naive innocent, or is she planning on using the wealthy stockbroker for his money? The movie never really answers these questions thoroughly, never really gets at what makes Tag so unhappy, why he even more than any of the characters now working in the arts seems so attracted to beauty and culture; instead it peers obliquely in a several long scenes at the intersections, contemplating and watching, never telling. There is a superb lengthy, probing tracking shot that traces an irregular path through the columns in the portico of the Met that seems to exist just to remind us of how beautiful, how stately and granitic art in the form of architecture can be, while the human beings are utterly frail and often incapable of ever reaching the transcendence in their own lives that they can in fact reach on canvas, in strings and percussion, in marble.I don't wish to spoil the rather surprising ending, but I will add that what blew my mind even more than the finish of the movie itself was learning that the whole movie was improvised - on camera. Fully improvised; Jost tells that he didn't have a storyline at all, really except that it had to involve art (a prerequisite of his funding), and he had the last shot in his head from the beginning. I found that out courtesy of his website, http://www.jon-jost.com/ where you can learn much more about this nice but fully unknown American independent filmmaker, and purchase some of his otherwise inaccessible films.I'd only seen one Jost movie before, "Frameup" (1993) which had both the single most irritating hero I've ever seen in a movie and one of the most strong and devastating endings I've experienced. On the basis of my memory of that movie and this masterpiece, I definitely most see more. All the Vermeers had the widest release of any of Jost's movies and might now be accessible to some of you, and for its aesthetic pleasures alone - the beauty of the score which verges from neo-baroque to post-Ornette Coleman atonal gratis jazz, the beauty of the female cast and Chaulet in particular, the sumptuous art and sets, and the striking photography (in 35MM, as far as I know Jost's first in the format) I suggest this to anyone even remotely adventurous.Highest rating


If you are a fanatic of independent and innovative filmmaking, this film is for you. It's visuals are tremendous in their composition, movement, colors, etc. It's sense of editing and storyline progression is involving and thought provoking. This is the type of film that makes you forget traditional narrative expectations of "what will happen next?" or questions like "what is going on?" and instead prompts you to just experience, perceive, and feel the film. A must-see for anyone interested in non-traditional filmmaking and for anyone interested in a pretty movie.


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 movie that is meant to be felt rather than thought about.The photos are often breathtakingly beautiful-the camera's dance around the pillars is one of the most nice 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 movies have a dream logic and work on a subconscious gut level.Turn off your mind relax and allow this gorgeous,undiscovered gem of a movie wash over you.A disturbing adventure at times but everytime truthful and everytime beautiful.



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