The Last Vermeer 2020

In the wake of World War II, Captain Joseph Piller, who played a significant role in the Dutch resistance, is assigned a daunting task: to uncover the shadowy past of the enigmatic artist and dealer, Han van Meegeren. At first glance, Van Meegeren’s arrest seems straightforward; he was accused of selling a painting, once thought to be by the revered Johannes Vermeer, to Hermann Goering, one of Hitler’s most trusted officials. However, as Piller digs deeper, he begins to sense something unsettling about the motivations behind Alex De Klerks’ sudden interest in Van Meegeren’s case.

Piller’s growing apprehensions prove to be justified, as he uncovers a tangled web of deception. His interrogations with Van Meegeren reveal that the artist has been living a dual existence—one as a gifted creator and the other as a shrewd manipulator. Initially facing harsh criticism for his art, Van Meegeren’s fortunes took a turn when he fabricated ‘discoveries’ of lost Vermeer works, using these to fund an extravagant lifestyle. His collaboration with the Nazis was merely a clever ploy to further his own agenda while maintaining an illusion of respectability.

As Piller’s skepticism regarding Van Meegeren’s culpability mounts, so too do the stakes. With Allied forces set to depart from the Netherlands, he realizes that he is powerless to stop De Klerks from seizing custody of Van Meegeren, who now faces a death sentence for his involvement in the looting of Dutch cultural artifacts during the war. The once peaceful landscape of post-war Europe is marred by the dark realities hidden just beneath the surface. Captain Piller’s inquiry into Han van Meegeren’s background starkly illustrates the catastrophic aftermath of conflict and the depths of human betrayal.

Amid the exhausting rhythm of Piller’s routine, his former secretary, Minna, bursts into his modest home with palpable urgency. Her startling revelation—a Vermeer portrait allegedly uncovered by Han bears an uncanny likeness to Cootje, the woman who has enchanted Piller’s heart—sends shockwaves through his resolve. During a moment of reflection, Piller revisits the abandoned safehouse, discovering Han’s unfinished canvas, which intriguingly resembles the artwork that was seized from the Nazis. Convinced of Han’s fidelity to the truth, Piller resolves to champion his defense in court, only to unravel a convoluted scheme involving bakelite and cleverly heated canvas—a ruse devised by Han to lend his works an air of authenticity.

In the courtroom, Han adamantly proclaims his innocence, noting that he had, in fact, immortalized Piller on his own canvas. Yet, the prosecution, reinforced by art critics who once endorsed the paintings’ legitimacy, effectively convinces the judges to impose a harsh sentence on Han. As the verdict is delivered, Piller instigates a diversion, aided by Esper Dekker, which gives him the opportunity to secretly tarnish one of the paintings using acid. The unexpected unveiling of Han’s signature sends ripples through the courtroom, leading to an immediate overturn of his verdict, culminating in a hero’s reception from the public.

In the following days, De Klerks confronts Piller, presenting a book retrieved from the safehouse—a book dedicated to Adolf Hitler, authored by none other than Han himself. As the web of truth begins to unfold, Piller confronts Han at his doorstep, receiving nothing but scorn and dismissal in return. Disenchanted, Piller walks away, casting the damning book into the flames in an act of symbolic purification, emphasizing the lessons learned amidst the storm of lies and revelation.