Review by John P. Harvey.

Taking us into the high-stakes world of rare art, The Stolen Painting opens behind the scenes at a modern-day high-end auction house, where auctioneer André Masson (Alex Lutz) receives word of the availability of an original Egon Schiele (1890–1918) painting well known through its prints but thought destroyed in 1939. André is initially dismissive of the possibility, but, along with his ex-wife, Bertina (Léa Drucker), and the firm’s lawyer, Miss Egerman (Nora Hamzawi), he goes to see it at the newly acquired home of Martin (Arcadi Radeff).

André rapidly becomes convinced of the painting’s authenticity.  Its provenance is another matter: where has it come from?  And to whom does it belong in reality?  Can the auction house sell it?  When André and Martin discover that the home’s former owner acquired the painting when he was an active Nazi during WWII, the ethics of ownership become increasingly murky. Adding to this already complicated mix is Bob Wahlberg (Doug Rand), who represents the painting’s rightful heirs.

What emerges with great subtlety is a suite of unstated observations: the inherent value of moral integrity; the selling power of impressions; the knife’s edge upon which can turn critical judgements.

Inspired by real events, The Stolen Painting departs from the reality of the art world in certain obvious respects and regrettably suggests several dramatic turns that remain unfulfilled.  The film nonetheless takes us on an intriguing journey as it illustrates the many difficulties of dealing properly with stolen art, and it does so with emotional balance — including a little humour — made believable by the nicely muted performances of Lutz, Drucker, and Rand.

Screening at Palace cinemas.