all the vermeers in new york (jon jost, 1990)

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.