The Last Vermeer 2019

Captain Joseph Piller, Claes Bang leading the postwar Dutch operation, is a Dutch Jew who works under the Canadian military administration of the Netherlands after having served in the resistance. After a tip surfaces about a Vermeer painting recovered in Austria from Hermann Goering’s private collection, Piller and his ally Esper Dekker arrest Han van Meegeren — the easygoing artist and dealer implicated in the crime — on charges of collaboration with the enemy and using the proceeds to finance an Abwehr espionage network. The arrest triggers a widening clash with a faction of Dutch authorities, notably the group led by Adrian Scarborough as Dirk Hannema, who want full custody of Han, threatening a dangerous postwar witch-hunt if he remains protected.

As Piller digs into the case, he interrogates the enigmatic painter, who, while in custody, requests the materials to create a canvas as corroborating evidence and unfolds the tale of his life. Han paints a complex picture: before the war his work had not been warmly received by critics, yet he became a surprising source of numerous paintings attributed to Vermeer that appeared throughout the 1930s. He explains that the wealth drawn from these discoveries financed a lavish lifestyle and deepened his uneasy cooperation with the Nazis, a collaboration he claims to despise in private even as he publicly played along. He argues that the recovered Vermeer in question could be a forgery, and he supplies names of people who might substantiate his claims, casting real doubt on Piller’s certainties. The tension escalates as the Allied forces retreat, leaving Piller in a precarious position and unable to stop Dirk Hannema and his faction from seizing control of Han, who now faces the death penalty for looting Dutch cultural treasures.

Piller’s world shifts when his secretary Minna Holmberg, Vicky Krieps, visits him with unsettling news: a Vermeer portrait supposedly discovered by Han bears a striking resemblance to Piller’s own lover, Cootje. Driven by this personal thread, Piller returns to the abandoned safehouse and discovers Han’s unfinished canvas—what turns out to be the very Vermeer painting recovered from the Nazis. Convinced that Han’s story is true, Piller changes course and agrees to defend Han in court. In the ensuing defense, Han reveals his skill at forgery, explaining how he used bakelite to craft convincing imitations and even manipulated the aging of canvases by heating and crumpling them to mimic the passage of time. The courtroom atmosphere becomes charged with competing interpretations as supporting art critics, who had initially authenticated the works, align with the prosecution.

At the trial, the prosecution presses a narrative that hinges on the forged aura of the works and the dubious provenance, despite Han’s insistence that the purported Vermeers are fake. He even claims to have painted a portrait of Piller within the canvas, a plug to undermine the state’s case. The judges, swayed by the art world’s consensus, convict Han, and the public absorbs the striking turn of events as news breaks across the country. In a swift, dramatic maneuver, Piller orchestrates a disturbance in the courtroom through Esper Dekker, distracting attention and triggering an act of vandalism that reveals Han’s signature on one of the paintings. The cunning ploy leads to Han’s conviction being overturned, and he receives a triumphant reception from the public, heralded as a genius rather than a traitor.

In the days that follow, Dirk Hannema returns with a discovery: a book retrieved from the safehouse contains a dedication from Han written to Adolf Hitler. This revelation forces Piller to reassess his understanding of Han’s motives, realizing that the artist’s Nazi-fueled bravado may have been a calculated performance. He confronts Han at his home, only to be dismissed by the painter, who insists there is nothing left to justify. Disgusted, Piller leaves and burns the book, severing the final thread that might have vindicated or damned Han.

Throughout the narrative, the film threads together a tense meditation on truth, art, and memory: the fragile line between forgery and authenticity, the weight of political calculations in the aftermath of war, and the personal costs borne by those who navigate a landscape where loyalties shift as quickly as the fortunes of a painting. The cast—brought to life by Karl Johnson as Bernard Bakker, August Diehl as Alex De Klerks, Roland Møller as Esper Dekker, Andrew Havill as Maarten Wooning, Olivia Grant as Cootje Henning, Richard Dillane as Colonel Jenkins, Cameron Jack as De Klerk’s Henchman, Oliver Ryan as Jerome Heidjen, Marie Bach Hansen as Leez, Susannah Doyle as Johana, Tom Mulheron as Finn, Jamie Newall as Prison Clerk, and Richard Newgass as Lecherous Nazi—paints a portrait of a world where certainty is scarce and memory is the most volatile commodity of all. The film leaves audiences pondering whether Han was a masterful forger who outwitted history, or a man who weaponized deception as a shield against an unforgiving postwar reckoning.