Girl with a Pearl Earring (film)

824: 503:, visits the household and notices Griet. He asks if Vermeer will give up Griet so she can work in the patron's house, where Van Ruijven ruined the former girl-maid. Vermeer refuses but agrees to paint a portrait of Griet for Van Ruijven. As he secretly works on the painting, Catharina notices something is amiss. Her growing disdain for the maid becomes apparent, spurred on by Van Ruijven's deliberate suggestions of an improper relationship between Vermeer and Griet. A conflicted Griet deals with her growing fascination with Vermeer and his talent while fending off Van Ruijven, who attempts to rape her in the courtyard. Later, when Catharina is out for the day, her mother hands Griet her daughter's pearl earrings and asks Vermeer to finish the painting. 849:. Set designer Todd van Hulzen said the goal was to "reflect that quiet, sober, almost moralizing ethos that you see in Dutch paintings". They built Vermeer's house on one of Luxembourg's largest film soundstages, a three-story set where they designed rooms that were meant to convey a lack of privacy. According to van Os, the film was about "being observed", so they intended Griet to always feel that she was being watched. In addition, they built two other interior sets to represent the homes of Griet and van Ruijven – Griet's home possessed Calvinistic characteristics while van Ruijven's contained 820:, desiring instead to "bring the film to life" and have viewers "be able almost to smell the meat in the market". Webber employed little dialogue and drew inspiration from the "quiet, tense, mysterious, transcendent world" of Vermeer's paintings. The director also made a conscious effort to slow the pace of the film, hoping that by "slowing things down create these moments in between the dialogue that were full of emotion. And the more silent the film became, the closer it seemed to be to the condition of those Vermeer paintings and the closer it seemed to capture some kind of truth." 735: 1067:"In paring the novel down, he's taken the fire out of the fusion of art and eroticism which powers Griet's and Vermeer's feeling for one another. For all the sunlight that shines into his studio, there's no air – the sense of two people breathing easily in one another's company. And the film needs that. Without it, for all Webber's fetish for exquisite detail, it's a strangely remote experience. You come away soothed by its beauty. But later, when its tranquillising effects wear off, you wonder about the risks not taken and the opportunities missed." 882:. The intent was to "take the real clothes from the period and reduce them to their essence". Costume designer Dien van Straalen explored London and Holland markets in search for period fabrics, including curtains and slipcovers. For Griet, van Straalen employed "pale colors for Scarlett Johansson to give her the drab look of a poor servant girl." Firth was also outfitted simply, as Vermeer was not rich. Van Straalen created more elaborate costumes for Wilkinson, as van Ruijven was to her "a peacock strutting around with his money". 511:

Vermeer wouldn't paint her. When Vermeer responds that she doesn't understand, she tries but fails to destroy the painting. She banishes Griet from the house. Vermeer does not object. Griet returns to her parents' home, stopping to stand once again at the compass on the bridge. Van Ruijven sits looking smugly at the finished painting. Later, Griet receives a visit at her parents' home from Vermeer's cook, Tanneke, who brings a gift: the blue headscarf Griet wore in the painting, wrapped around Catharina's pearl earrings.

1119:'s review, written by Susan Hodgetts, described the film as "a superior British costume drama that expertly mixes art history with romantic fiction", which would appeal to "anyone who likes serious, intelligent drama and gentle erotic tension". Hodgetts said that both Firth and Johansson gave "excellent" performances and did "a grand job of expressing feelings and emotions without the use of much dialogue, and the picture is the better for it". Elvis Mitchell of 998:, writes that while Chevalier's Griet describes ten Vermeer paintings (without naming them), Webber's film avoids "show an external world that looks like a series of Vermeer paintings", as this would have been a trivialisation of the artist's achievements. Leitch adds the director "compromises by showing far fewer actual Vermeer paintings than Chevalier's Griet describes but lingering longer over the visual particulars of the studio in which he creates them". 5168: 633: 960:

what you can leave out. I am a big enthusiast for leaving things out." She focused the story on the relationship between Griet and Vermeer, deciding what other storylines were "distracting and had to be jettisoned. Before editing, there was great stuff there, but Peter was fantastically ruthless". Changes from the novel did not bother Chevalier, who felt that as a result the film gained "a focused, driven plot and a sumptuous visual feast".

674:, for a film adaptation. Chevalier agreed, believing that a British studio would help resist Hollywood's urge "to sex up the film". She stipulated that their adaptation avoid having the main characters consummate their relationship. Paterson and Tucker promised to "replicate the 'emotional truth' of the story", and Chevalier did not seek to retain control during the film's creative process, though she briefly considered adapting it herself. 789:, was hired as Pieter, Griet's butcher love interest. Murphy, taking on his first period film role, was interested in serving as a foil to Firth's Vermeer, and representing the "ordinary" world that Griet seeks to avoid upon her meeting the artist. Other cast members included Joanna Scanlan as the maid Tanneke, as well as the young actresses Alakina Mann and Anna Popplewell as Vermeer's daughters, Cornelia and Maertge, respectively. 1612: 779:

unlike Webber and Johansson, Firth chose to read the book to gain a better grasp of a man of whom little information existed on his private life. Firth sought to "invent" the character and discover his motivations, and ultimately identified with the artist for having a private space in the midst of a bustling family. Firth also studied painting techniques and visited museums carrying Vermeer works.

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to return his affection as their relationship develops. As Griet cleans Vermeer's studio, which Catharina never enters, the painter begins to converse with her and encourages her appreciation of painting, light, and colour. He gives her lessons in mixing paints and other tasks while keeping these secret from Catharina, to avoid angering her. In contrast, Vermeer's pragmatic mother-in-law,

1181:)". Jays concluded his review by praising Webber and Serra's ability to "deftly deploy daylight, candle and shadow, denying our desire to see clearly just as Vermeer refuses to explicate the situations in his paintings. The film's scenarios may be unsurprising, but Webber's solemn evocation of art in a grey world gives his story an apt, unspoken gravity." 1165:"brings off something that few dramas about artists do. It gets you to see the world through new – which is to say, old – eyes". Gleiberman added that while Johansson is silent for most of the film, "the interplay on her face of fear, ignorance, curiosity, and sex is intensely dramatic". In 990:

Vermeer channels Griet's sexual awakening into his painting, with the piercing of her ear and his directives to her posing being inherently sexual. In the opinion of psychologist Rosemary Rizq, the pearl Griet dons is a metaphor, something which normally would convey wealth and status. But, when worn

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The score employs strings, piano, and woodwinds, with a central theme featuring a variety of instrumental forms. Desplat created a melody that recurs throughout the film, stating in a later interview that "it evolves and it's much more flowing with a very gentle theme that's haunting". The score, his

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desired that Griet appear without make-up, so Johansson was given very little; rather, Shircore focused on maintaining the actress' skin as "milky, thick and creamy", and bleached her eyebrows. They gave Davis as Catharina a "very simple Dutch hairstyle", which they learned from studying drawings and

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Griet works diligently and almost wordlessly in the lowest position of a harsh hierarchy. She does her best to adjust, in spite of the unkind treatment from Vermeer's spoiled adolescent daughter, Cornelia. While Griet is on a routine shopping run, a butcher's son, Pieter, is drawn to her. She is slow

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In the interest of shortening the adaptation, approximately one-third of the story was eventually edited out; entire subplots and characters were removed. Before becoming a screenwriter Hetreed worked as an editor, and credits this experience for knowing "about structure and what you need to say and

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would be different; unlike the former film's "elaborate and expensive set pieces", Webber's production was to be "about the intimate relationships within a single household". He was not seeking to create a historically accurate biographical film of Vermeer; Webber sought to direct a period film that

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Hetreed worked closely with Tucker and Webber to adapt the book, explaining that "working with them on drafts helped me to concentrate on what the film would be, rather than how beautifully I could make a line work". Her first draft was closest to the source material and it slowly "developed its own

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praised Webber's ability to "build individual moments the crackle of a bed-sheet which has grown an ice overcoat after being hung out to dry in the wintry air", but opined that he failed to "invest these elegant reproductions of the art of the period with the emotional charge you've been set up to

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for being "a chick flick dressed up in Old Master clothes" and for failing "to render Griet's growing artistic sensibility dramatically credible". She cited its melodramatic villains as another failing, but concluded that it was "to Johansson's credit that she alone pulls something plausible out of

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was mostly positive, with reviewers positively emphasizing the film's visuals, musical score, and performances while questioning elements of its story. The review aggregator Rotten Tomatoes calculated a 73% approval rating based on 179 reviews, with an average score of 6.90/10. The website reported

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10 million. While it is set in Delft, the film was primarily shot in Amsterdam, Belgium, and Luxembourg. Chevalier later remarked that Webber and Serra "needed absolute control of the space and light they worked with – something they could never achieve by shutting down a busy Delft street for

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After Firth, Webber's next casting decision was Tom Wilkinson as the patron Pieter van Ruijven, who was hired in late 2002. He was soon joined by Judy Parfitt as Vermeer's domineering mother-in-law, and Essie Davis, who portrayed Vermeer's wife Catharina. The Australian daughter of an artist, Davis

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as Vermeer. Firth and Webber, both of a similar age and background, spent significant time discussing Vermeer's personality and lifestyle in the period leading up to the beginning of filming. While researching the role, Firth realised that Vermeer was "incredibly elusive as an artist". As a result,

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to head the project, despite his not having directed a feature film before. Tucker and Paterson already knew Webber from several earlier projects; the director discovered the project by accident after visiting their office, where he noticed a poster of Vermeer's work and began discussing it. Webber

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film. Webber explained, "He had a sense of restraint and a sense of lyricism that I liked. I remember the first time I saw the cue where Griet opens the shutters. He was really describing what the light was doing, articulating that in a musical sphere." Desplat was then known primarily for scoring

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Webber hired Ben van Os as his production designer because "he wasn't intimidated by the period obligations. He was much more interested in story and character." For inspiration in constructing the film's sets, Webber and van Os studied the works of Vermeer and other artists of the period, such as

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At the final painting session, Vermeer pierces Griet's left earlobe so she can wear one of the earrings for the portrait. Tensions heighten when she reacts in pain and Vermeer caresses her face. She runs to Pieter for consolation and distraction from her thoughts of Vermeer. The two make love in a

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was cast as Griet, having successfully pursued the role from the film's producers. In September 2001, however, Hudson pulled out four weeks before filming began, officially due to "creative differences". Hudson's decision scuppered the production and led to the loss of financial support from the

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The novel maximises the few known facts of Vermeer's life, which Hetreed described as "little pillars sticking up out of the dust of history". To learn more about the artist, the screenwriter researched Dutch society in the 17th-century, talked to artist friends about painting, and interviewed a

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Catharina flies into a rage upon discovering Griet wore her earrings and storms into the studio, accusing her mother of complicity. She demands Vermeer show her the commissioned portrait. Offended by the intimate nature of the painting, Catharina dismisses it as "obscene" and tearfully asks why

761:. He felt that she "just stood out. She had something distinctive about her." Johansson seemed very modern to Webber, but he believed this was a positive attribute, realising "that what would work was to take this intelligent, zippy girl and repress all that". The actress finished filming 661:

shortly before its publication in August. The novel had not yet become a best-seller, but several groups were beginning to show interest. Hetreed loved the character of Griet and "her determination to be free in a world where that was almost impossible for a girl from her background".

987:, Andrew Higson notes that the film overcomes the novel's "subjective narration" device by having the camera stay fixed on Griet for much of the film. But, Higson says, "no effort is made to actually render her point of view as the point of view of the film or the spectator". 678:

character" through rewrites. She avoided using a voiceover, which was present in the novel, "partly because it would make it very literary". Instead, she focused on conveying Griet's thoughts visually – for example, in her adaptation Griet and Vermeer inspect the

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earned a worldwide gross of $ 31.4 million. It garnered a mostly positive critical reception, with critics generally applauding the film's visuals, musical score, and performances while questioning elements of its story. The film was subsequently nominated for ten

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According to Webber, Serra "was obsessed with reproducing the amazing use of light by the artists of that period, and most particularly Vermeer's use of it". To reflect the "magical luminosity" of Vermeer's artwork, Serra employed diffused lighting and different

1037:. In its opening week, the film finished in tenth place with a total of £384,498 from 106 cinemas. In the UK and Ireland, the film finished in 14th place for the year with a total box office gross of £3.84 million. It had a worldwide gross of $ 31,466,789. 950:

magazine called his score "a supremely elegant work" that "creates a captivating atmosphere of cautious emotion and wonderment, the true highlight being 'Colours in the Clouds', so simply majestic that it really captures the heart of the story".

771:, and consequently prepared little for the role. She considered the script "beautifully written" and the character "very touching", but did not read the book because she thought it would be better to approach the story with a "clean slate." 4351: 1111:

referred to the film as "quiet, intelligent and well-acted" and believed that "most people will be impressed by, and carry away in their mind's eye, the film's appearance ... have given the movie a self-conscious beauty".

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to seven cinemas on 12 December 2003, landing in 32nd place for the week with $ 89,472. Lions Gate slowly increased its release to a peak of 402 cinemas by 6 February 2004. Its total domestic gross was $ 11,670,971.

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called the film an "earnest, obvious melodrama with no soul, filled with the longing silences that come after a sigh". Mitchell did however laud its cinematography, production design, and musical score, as did the

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when filming scenes in the artist's studio. Webber and Serra did not want to be too reliant on Vermeer's aesthetic, however; they wanted audiences to come away focusing their praise on its story, not its visuals.

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by Griet, the pearl is also a directive to the audience to look at the "psychological potential within" her erotic, unconsummated bond with Vermeer, unclear up to that point if it is real or not.

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did not believe her character was the film's "bad guy", as " has a certain role to play for you to want Griet and Vermeer to be involved". Cillian Murphy, known for his recent role in

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is "more than just a quaint little film about art" but is concerned with themes of money, sex, repression, obsession, power, and the human heart. Laura M. Sager Eidt, in her book

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read the script and described it as being "about creativity and the link between art and money and power and sex in some strange unholy mixture". Characterising it as a "

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career breakthrough, gained him international attention and garnered him further film projects. The soundtrack was released in 2004; it earned a nomination for the

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together under his cloak amidst sexual tension; whereas, in the novel Griet views it alone immediately after him and enjoys the lasting warmth and scent he leaves.

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directing. Hudson withdrew shortly before filming began, however, and the film was placed on hiatus until the hire of Webber, who re-initiated the casting process.

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painter, has recently gone blind, rendering him unable to work and leaving his family in a precarious financial situation. Griet is sent to

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assigned the film a weighted average score of 72 out of 100, based on 37 critics, indicating "generally favorable reviews". Historian

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Screenwriter Olivia Hetreed gained early access to the book because she shared the same agent as Chevalier, and read it in two hours.

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studied the period's artwork and discussed the different moods they wanted to create for each scene. The director was a lover of the

436:, very polite Sunday evening BBC kind of thing, and I determined to make something quite different from that ...". Cinematographer 757:

The casting of Griet was Webber's first major step and led to interviews with 150 girls before Webber chose the 17-year-old actress

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expect". Griet and Vermeer's relationship, Hall wrote, lacked "the sense of two people breathing easily in one another's company".

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and his wife, Catharina. On the way there, she stops momentarily at the compass on the canal bridge leading to the market square.

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described it as a " gorgeous score ... brushes in a haunted gloom that gives the picture life where none seems to exist", whilst

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museum made a high-resolution photograph of the actual painting, which was then shot on a rostrum camera to be used in the film.

980:, Sager Eidt says, "shifts its focus from a young girl's evolving consciousness to the class and power relations in the story". 5280: 5275: 5220: 5195: 4520: 3745: 3087: 1831: 1334: 4027: 5330: 5315: 5295: 5240: 5110: 4933: 4648: 4278: 4248: 4194: 4173: 4154: 3650: 3225: 1638: 1512: 1373: 1241: 1226: 3783: 3493: 2673: 2612: 2495: 1910: 774:

After the hiring of Johansson, other major casting decisions quickly followed, beginning with the addition of English actor

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In desiring to avoid stereotypes of the costume drama, Webber costumed his actors in simple outfits he termed "period

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Production started again later that year when the producers hired the relatively unknown British television director

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Hetreed read the novel before its publication, and her husband's production company convinced Chevalier to sell the

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from Webber, Paterson, Hetreed, and Chevalier; a featurette on "The Art of Filmmaking"; and eight deleted scenes.

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barn. Pieter proposes marriage, but Griet unexpectedly leaves. She returns the earrings to Catharina's mother.

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drama. In a 2003 interview with IGN, he said, "What I was scared of is ending up with something that was like

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the critical consensus as "visually arresting, but the story could be told with a bit more energy".

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In the final shot, the camera zooms out from the earring to reveal the full real-life painting,

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In his feature film debut, Webber sought to avoid employing traditional characteristics of the

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Released on 12 December 2003 in North America and on 16 January 2004 in the United Kingdom,

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Film Adaptation and Its Discontents: From Gone with the Wind to The Passion of the Christ

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Film Adaptation and Its Discontents: From Gone with the Wind to The Passion of the Christ

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The film incorporates seven of Vermeer's paintings into its story. Thomas Leitch, in

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stars as Griet, a young 17th-century servant in the household of the Dutch painter

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used distinctive lighting and colour schemes similar to Vermeer's paintings.

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bleached her eyebrows to better resemble the subject of Vermeer's painting.

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International Film Festival of the Art of Cinematography Plus Camerimage

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reported that it "now seems unlikely that the film will ever be made".

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Writing and Filming the Painting: Ekphrasis in Literature and Film

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The film was released in the United Kingdom on 16 January 2004 by

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Writing and Filming the Painting: Ekphrasis in Literature and Film

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an hour or two". Only a few exterior shots were filmed in Delft.

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s Erica Abeel. Despite praising its visuals, Abeel criticized

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as Vermeer; Fiennes left the project to work on his 2002 film

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Girl with a Pearl Earring: Original Motion Picture Soundtrack

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Film England: Culturally English Filmmaking Since the 1990s

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Film England: Culturally English Filmmaking Since the 1990s

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The Ghost of Vermeer of Delft Which Can Be Used as a Table

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on 31 August 2003. In North America it was distributed by

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avoided being "overly slavish" to characteristics of the

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Literature into Film: Theory and Practical Approaches

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to work as a maid in the household of famed painter

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The Routledge Companion to Music and Visual Culture

3254: 2314: 2283: 2257: 2255: 2253: 2251: 2249: 2086:. Irish Times Trust. 5 January 2004. Archived from 2048: 4528: 3739: 3737: 3281: 2116: 2114: 2112: 2110: 2108: 2024: 2022: 2020: 2018: 2016: 2014: 2012: 2010: 2008: 1049:DVD was released on 4 May 2004 by Lions Gate. The 3361: 2931:"Conversations with composers: Alexandre Desplat" 2496:"An Oscar nomination is actor's ticket to DeKalb" 2178: 1730:"British Council Film: Girl With A Pearl Earring" 1260:Excellence in Production Design for a Period Film 797:During preproduction, Webber and cinematographer 5182: 3053: 3051: 3049: 2788: 2246: 2146: 3734: 2887: 2885: 2883: 2667: 2606: 2604: 2602: 2393: 2391: 2389: 2356: 2354: 2352: 2189:"Hudson withdrawal scuppers British production" 2105: 2005: 928:Desplat's work also garnered positive reviews. 4142: 3645: 3275: 2665: 2663: 2661: 2659: 2657: 2655: 2653: 2651: 2649: 2647: 2453: 2051:"Kate Hudson to star as Vermeer's inspiration" 1971: 1969: 1967: 1965: 4619: 4514: 4352: 3991: 3219: 3217: 3215: 3046: 2705: 2295:"Small pearl takes on the Bafta blockbusters" 2049:Membery, York; Jenny Jarvie (5 August 2001). 1963: 1961: 1959: 1957: 1955: 1953: 1951: 1949: 1947: 1945: 880:ruffles and baggy costumes common for the era 869: 827:The filmmakers studied Vermeer works such as 4028:"The 61st Annual Golden Globe Awards (2004)" 3710: 3708: 3555: 3553: 3551: 2880: 2599: 2400:"Imagining an elusive Dutch painter's world" 2386: 2349: 492:, sees Griet as useful to Vermeer's career. 4368:Polish Academy Award for Best European Film 3824:Academy of Motion Picture Arts and Sciences 3774: 3772: 3528: 2644: 1557:Los Angeles Film Critics Association Awards 415:. Initially, the production was to feature 4626: 4612: 4521: 4507: 4359: 4345: 4269:. In Shephard, Tim; Leonard, Anne (eds.). 4236: 3778: 3212: 3166: 3154: 3088:"'Girl' finds the passion behind the pose" 3020: 2794: 1942: 923:Golden Globe Award for Best Original Score 29: 5346:English-language biographical drama films 4463:Three Billboards Outside Ebbing, Missouri 4119:San Sebastián International Film Festival 3705: 3548: 3491: 2613:"Eduardo Serra Girl With a Pearl Earring" 2397: 2120: 2044: 2042: 2040: 1590:San Sebastián International Film Festival 4264: 3769: 3714: 3304: 3190: 3096:. Boston Globe Electronic Publishing Inc 3057: 2747:"Girl with a Pearl Earring (2003 Movie)" 1531:Best Actress – Motion Picture Drama 822: 733: 711:. It also resulted in the withdrawal of 631: 5256:Cultural depictions of Johannes Vermeer 4726:Girl Reading a Letter at an Open Window 4084: 3114: 2988: 2565: 2533: 2454:Wollman Rusoff, Jane (9 January 2004). 2398:Hohenadel, Kristin (14 December 2003). 2325:"Brushing up on an age-old inspiration" 1975: 1909:Grove, Christopher (18 December 2003). 1880: 1830:Jardine, Cassandra (9 September 2003). 1829: 1825: 1823: 853:to reflect his "predatory nature". The 5183: 4655:Christ in the House of Martha and Mary 4182: 4163: 3676: 3531:"Girl with a Pearl Earring DVD (2004)" 3292: 3178: 2854: 2825:"Artist Biography by William Ruhlmann" 2711: 2671: 2610: 2493: 2292: 2261: 2215: 2152: 2037: 1446:Douglas Hickox Award (Debut Director) 1053:DVD's release on 31 May 2004 included 963: 767:immediately before arriving on set in 5351:English-language romantic drama films 5111:Isabella Stewart Gardner Museum theft 4934:A Young Woman Seated at the Virginals 4607: 4502: 4340: 3743: 2960: 2928: 2121:Chevalier, Tracy (28 December 2003). 1978:"The story beneath that calm Vermeer" 1908: 1832:"I thought: 'Who's playing a prank?'" 1639:List of paintings by Johannes Vermeer 5261:English-language Luxembourgian films 4633: 4203: 4065:Los Angeles Film Critics Association 3559: 3260: 3223: 3085: 3058:Mitchell, Elvis (12 December 2003). 3023:"Alexandre Desplat – Interview" 2822: 2425: 2360: 1881:Grandon, Marisol (15 January 2004). 1820: 1072: – Sandra Hall in a review for 4902:Lady Writing a Letter with her Maid 3715:Hodgetts, Susan (13 January 2004). 3305:McCarthy, Todd (1 September 2003). 3191:Bradshaw, Peter (15 January 2004). 2891: 2855:Romano, Andrew (11 February 2014). 2767: 1986:. Nash Holdings LLC. Archived from 1458:British Society of Cinematographers 908:was written by the French composer 13: 5251:Luxembourgian romantic drama films 4258: 4189:. Johns Hopkins University Press. 3784:"Girl With a Pearl Earring Review" 3717:"Girl with a Pearl Earring (2004)" 3596:"Girl With a Pearl Earring (2004)" 3492:Armstrong, Jennifer (7 May 2004). 3372:"Girl with a Pearl Earring (2003)" 3115:Koseluk, Chris (18 January 2004). 3060:"Girl With a Pearl Earring (2003)" 2989:Hammond, Pete (23 November 2011). 2795:Burlingame, Jon (7 January 2007). 2712:Hansen, Liane (21 December 2003). 2216:Susman, Gary (19 September 2001). 1787:"Girl with a Pearl Earring (2003)" 1755:"Girl with a Pearl Earring (2004)" 468:Griet is a shy girl living in the 14: 5362: 5326:Films scored by Alexandre Desplat 5291:Films set in the Dutch Golden Age 5226:Biographical films about painters 5216:American historical romance films 5211:American biographical drama films 4591:Inna de Yard: The Soul of Jamaica 4403:The Diving Bell and the Butterfly 4288: 4085:Bennett, Dan (30 December 2003). 3914:. 26 October 2004. Archived from 3529:Papamichael, Stella (July 2007). 3117:"Taking a page from a bestseller" 2672:Weddle, David (13 January 2004). 2611:Weddle, David (12 January 2004). 2566:Dawtrey, Adam (25 October 2002). 2534:Maynard, Kevin (2 January 2004). 2494:Kilian, Michael (10 March 2003). 1976:Winters, Laura (4 January 2004). 1320:Best Actress in a Supporting Role 1017:s world premiere occurred at the 702:Originally, the American actress 650:began in 1999, when screenwriter 5236:British historical romance films 5231:British biographical drama films 5167: 5166: 3224:Jays, David (20 December 2011). 3021:Goldwasser, Dan (January 2006). 2867:The Newsweek Daily Beast Company 2426:Gent, Paul (23 September 2008). 2293:Davies, Hugh (20 January 2004). 2262:Riding, Alan (9 December 2003). 2153:Weddle, David (4 January 2004). 2078:"Painting a portrait of Vermeer" 1610: 581:Alakina Mann as Cornelia Vermeer 4136: 4107: 4078: 4050: 4020: 3985: 3960: 3930: 3912:British Independent Film Awards 3900: 3872: 3842: 3812: 3670: 3639: 3619: 3588: 3522: 3485: 3456: 3426: 3395: 3330: 3298: 3184: 3108: 3079: 3014: 2982: 2961:Lewis, Randy (5 January 2012). 2954: 2922: 2848: 2816: 2772:. Aboutfilm.com. Archived from 2761: 2739: 2559: 2527: 2487: 2447: 2419: 2361:Otto, Jeff (11 December 2003). 2209: 2070: 1660: 1575:San Diego Film Critics Societys 1423:Best Achievement in Production 1419:British Independent Film Awards 1264:Ben van Os, Christina Schaffer 690:art historian who had restored 16:2003 drama film by Peter Webber 5321:Films directed by Peter Webber 5271:Films based on American novels 5266:Films about interclass romance 5246:Luxembourgian historical films 5201:2000s historical romance films 4204:Rizq, Rosemary (August 2005). 4143:Costanzo Cahir, Linda (2006). 2929:Gallo, Phil (3 January 2014). 2264:"Smoldering daughter of Delft" 1902: 1806: 1779: 1747: 1722: 1651: 940:said it "burbles with elegant 917:films in his native language. 627: 1: 5281:Films based on romance novels 5276:Films based on British novels 5221:American romantic drama films 5196:2003 biographical drama films 4734:Girl Interrupted at Her Music 4659: 4237:Sager Eidt, Laura M. (2008). 3682:"Old Masters, young servants" 1715: 1040: 1006: 636:Vermeer's original painting, 622: 392:. Other cast members include 5331:2000s English-language films 5316:2003 directorial debut films 5296:Films set in the Netherlands 5241:British romantic drama films 5122:All the Vermeers in New York 4742:The Girl with the Wine Glass 3307:"Rare air at Telluride fest" 2456:"Being the onscreen Vermeer" 1687:The Girl with the Wine Glass 1184: 1060: 688:Victoria & Albert Museum 35:UK theatrical release poster 7: 4926:Lady Standing at a Virginal 4806:Woman with a Pearl Necklace 4149:. McFarland & Company. 3746:"Girl With a Pearl Earring" 3627:"Girl with a Pearl Earring" 3565:"Girl With a Pearl Earring" 3226:"Girl with a Pearl Earring" 3193:"Girl With a Pearl Earring" 3086:Burr, Ty (9 January 2004). 2674:"Girl With a Pearl Earring" 2155:"Girl With a Pearl Earring" 1705:Woman with a Pearl Necklace 1603: 1273:British Academy Film Awards 450:British Academy Film Awards 10: 5367: 3995:staff (11 December 2004). 3751:Film Journal International 1462:Best Cinematography Award 1271: 1127:Film Journal International 1001: 954: 897: 885:Make-up and hair designer 870:Costume design and make-up 792: 697: 5206:2003 romantic drama films 5164: 5101:Dutch Golden Age painting 5057: 5047:Girl with a Pearl Earring 5039:Girl with a Pearl Earring 5031:Girl with a Pearl Earring 5012: 4971: 4952: 4918:Lady Seated at a Virginal 4822:Girl with a Pearl Earring 4702:Officer and Laughing Girl 4641: 4551:Girl with a Pearl Earring 4537: 4379:Girl with a Pearl Earring 4374: 4327:Girl with a Pearl Earring 4316:Girl with a Pearl Earring 4305:Girl with a Pearl Earring 4222:10.1080/14753630500232156 4115:"51 edition. 2003 Awards" 3570:The Sydney Morning Herald 2330:The Sydney Morning Herald 1693:Girl with a Pearl Earring 1632:Girl with a Pearl Earring 1565: 1524: 1493: 1472: 1464: 1417: 1205: 1163:Girl with a Pearl Earring 1147:The Sydney Morning Herald 1135:Girl with a Pearl Earring 1084:Girl With a Pearl Earring 1075:The Sydney Morning Herald 1047:Girl With a Pearl Earring 1012:Girl With a Pearl Earring 978:Girl with a Pearl Earring 970:Girl with a Pearl Earring 906:Girl with a Pearl Earring 836:The film was budgeted at 813:Girl With a Pearl Earring 658:Girl with a Pearl Earring 648:Girl with a Pearl Earring 639:Girl with a Pearl Earring 517:Girl with a Pearl Earring 445:Girl with a Pearl Earring 381:Girl with a Pearl Earring 378:) at the time he painted 343:Girl with a Pearl Earring 331: 323: 315: 295: 285: 270:30 January 2004 259:16 January 2004 235: 212: 192:Archer Street Productions 175: 165: 157: 147: 98: 77: 66:Girl with a Pearl Earring 60: 50: 40: 28: 24:Girl with a Pearl Earring 23: 5311:Films shot in Luxembourg 4678:Diana and Her Companions 4265:Neumeyer, David (2013). 3127:North Jersey Media Group 2466:North Jersey Media Group 1644: 1023:Lions Gate Entertainment 893: 725:. Due to this incident, 656:Tracy Chevalier's novel 244:31 August 2003 5301:Films shot in Amsterdam 5157:(2013 documentary film) 5091:Delft School (painting) 5086:Antonie van Leeuwenhoek 4830:A Lady Writing a Letter 4774:Woman Holding a Balance 4433:Searching for Sugar Man 4183:Leitch, Thomas (2009). 4164:Higson, Andrew (2011). 4092:San Diego Union-Tribune 3968:"2004: The Nominations" 3880:"Baftas: the full list" 3756:Prometheus Global Media 3413:Internet Movie Database 3382:Internet Movie Database 3348:Internet Movie Database 3144:(subscription required) 2941:Prometheus Global Media 2735:(subscription required) 2701:(subscription required) 2640:(subscription required) 2595:(subscription required) 2523:(subscription required) 2483:(subscription required) 2101:(subscription required) 2001:(subscription required) 1938:(subscription required) 1792:American Film Institute 1290:Best Adapted Screenplay 1019:Telluride Film Festival 878:", rather than use the 523: 472:in 1665. Her father, a 463: 5004:Arthur K. Wheelock Jr. 4979:Théophile Thoré-Bürger 4846:Study of a Young Woman 4790:Woman Reading a Letter 4766:Woman with a Water Jug 4210:Psychodynamic Practice 3440:. 2005. Archived from 3236:British Film Institute 1760:British Film Institute 1669:Woman with a Water Jug 1374:Best Makeup & Hair 1082:Critical reception of 1069: 904:The musical score for 890:prints of the period. 833: 742: 666:and Hetreed's husband 643: 384:(1665) in the city of 360:novel of the same name 5306:Films shot in Belgium 4910:The Allegory of Faith 4243:. Amsterdam: Rodopi. 4007:Penske Business Media 3997:"'Head' of EFA class" 3972:European Film Academy 3744:Abeel, Erica (2008). 3434:"UK Box Office: 2004" 3317:Penske Business Media 2718:National Public Radio 2684:Penske Business Media 2623:Penske Business Media 2578:Penske Business Media 2536:"Overseas sensations" 2165:Penske Business Media 1921:Penske Business Media 1666:These paintings were 1065: 968:According to Webber, 826: 737: 635: 354:from a screenplay by 267: (United Kingdom) 5336:2000s American films 5106:Hockney–Falco thesis 4994:John Michael Montias 3830:on 29 September 2012 3789:Entertainment Weekly 3692:Guardian Media Group 3647:von Tunzelmann, Alex 3499:Entertainment Weekly 2904:Bauer Consumer Media 2223:Entertainment Weekly 2133:Guardian Media Group 1594:Best Cinematography 1500:Best Cinematographer 1495:European Film Awards 1158:Entertainment Weekly 692:the original artwork 578:as Tanneke, the cook 572:as Catharina Vermeer 358:, based on the 1999 278: (United States) 201:Film Fund Luxembourg 5341:2000s British films 5149:(2008 history book) 4953:Formerly attributed 4862:The Art of Painting 4838:Girl with a Red Hat 4543:The Stretford Wives 4397:The Lives of Others 3860:on 8 September 2012 3854:Art Directors Guild 3782:(3 December 2003). 3680:(17 January 2004). 3276:Costanzo Cahir 2006 2823:Ruhlmann, William. 2433:The Daily Telegraph 2300:The Daily Telegraph 2197:. 18 September 2001 2056:The Daily Telegraph 1983:The Washington Post 1888:The Daily Telegraph 1837:The Daily Telegraph 1816:. 12 December 2003. 1580:Best Cinematography 1562:Best Cinematography 1544:Best Original Score 1535:Scarlett Johansson 1526:Golden Globe Awards 1438:Scarlett Johansson 1361:Best Costume Design 1348:Best Cinematography 1255:Art Directors Guild 1242:Best Costume Design 1227:Best Cinematography 1179:Lost in Translation 1093:Alex von Tunzelmann 964:Themes and analysis 764:Lost in Translation 707:production company 611:as Paul The Butcher 458:Golden Globe Awards 433:Masterpiece Theatre 5130:Writing to Vermeer 5075:Pieter van Ruijven 4529:Films directed by 4038:on 18 October 2014 3918:on 3 November 2013 3800:on 4 February 2007 3065:The New York Times 2996:Deadline Hollywood 2802:The New York Times 2749:. PeriodDramas.com 2337:. 10 December 2003 2269:The New York Times 1548:Alexandre Desplat 1517:Alexandre Desplat 1365:Dien van Straalen 1335:Best Art Direction 1310:Scarlett Johansson 1246:Dien van Straalen 1212:Best Art Direction 1121:The New York Times 1055:audio commentaries 1027:limited in release 931:The New York Times 834: 759:Scarlett Johansson 743: 739:Scarlett Johansson 646:The production of 644: 550:Pieter van Ruijven 540:Scarlett Johansson 368:Scarlett Johansson 220:Pathé Distribution 111:Scarlett Johansson 5286:Films set in 1665 5178: 5177: 4961:Girl with a Flute 4942:The Guitar Player 4854:Mistress and Maid 4782:Woman with a Lute 4710:The Little Street 4601: 4600: 4496: 4495: 4421:The King's Speech 4385:My Summer of Love 4280:978-0-415-62925-6 4250:978-90-420-2457-1 4196:978-0-8018-9271-4 4175:978-1-84885-454-3 4156:978-0-7864-2597-6 4117:(Press release). 4063:(Press release). 3970:(Press release). 3940:(Press release). 3938:"Camerimage 2003" 3910:(Press release). 3888:. 19 January 2004 3852:(Press release). 3822:(Press release). 3563:(13 March 2004). 3469:(Press release). 3436:(Press release). 3231:Sight & Sound 2968:Los Angeles Times 2835:All Media Network 2405:Los Angeles Times 2123:"Mother of Pearl" 1601: 1600: 1404:Outstanding Debut 1394:Alexandre Desplat 1278:Best British Film 1168:Sight & Sound 910:Alexandre Desplat 830:The Little Street 722:Maid in Manhattan 654:gained access to 593:as Griet's Mother 587:as Griet's Father 339: 338: 195:DeLux Productions 170:Alexandre Desplat 5358: 5170: 5169: 5081:Han van Meegeren 4814:The Music Lesson 4664: 4661: 4635:Johannes Vermeer 4628: 4621: 4614: 4605: 4604: 4523: 4516: 4509: 4500: 4499: 4415:The Ghost writer 4409:The White Ribbon 4361: 4354: 4347: 4338: 4337: 4300: 4299: 4297:Official website 4284: 4254: 4233: 4200: 4179: 4160: 4130: 4129: 4127: 4125: 4111: 4105: 4104: 4102: 4100: 4082: 4076: 4075: 4073: 4071: 4062: 4054: 4048: 4047: 4045: 4043: 4034:. Archived from 4024: 4018: 4017: 4015: 4013: 3989: 3983: 3982: 3980: 3978: 3964: 3958: 3957: 3955: 3953: 3948:on 27 March 2012 3944:. Archived from 3934: 3928: 3927: 3925: 3923: 3904: 3898: 3897: 3895: 3893: 3876: 3870: 3869: 3867: 3865: 3856:. Archived from 3846: 3840: 3839: 3837: 3835: 3826:. Archived from 3816: 3810: 3809: 3807: 3805: 3796:. Archived from 3780:Gleiberman, Owen 3776: 3767: 3766: 3764: 3762: 3741: 3732: 3731: 3729: 3727: 3712: 3703: 3702: 3700: 3698: 3674: 3668: 3667: 3665: 3663: 3649:(25 July 2013). 3643: 3637: 3636: 3623: 3617: 3616: 3614: 3612: 3592: 3586: 3585: 3583: 3581: 3557: 3546: 3545: 3543: 3541: 3526: 3520: 3519: 3517: 3515: 3506:. Archived from 3489: 3483: 3482: 3480: 3478: 3468: 3460: 3454: 3453: 3451: 3449: 3444:on 30 April 2012 3430: 3424: 3423: 3421: 3419: 3399: 3393: 3392: 3390: 3388: 3368: 3359: 3358: 3356: 3354: 3334: 3328: 3327: 3325: 3323: 3302: 3296: 3290: 3279: 3273: 3264: 3258: 3252: 3251: 3249: 3247: 3242:on 3 August 2012 3238:. 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Archived from 2451: 2445: 2444: 2442: 2440: 2423: 2417: 2416: 2414: 2412: 2395: 2384: 2383: 2381: 2379: 2373:News Corporation 2358: 2347: 2346: 2344: 2342: 2321: 2312: 2311: 2309: 2307: 2290: 2281: 2280: 2278: 2276: 2259: 2244: 2243: 2241: 2239: 2230:. Archived from 2213: 2207: 2206: 2204: 2202: 2185: 2176: 2175: 2173: 2171: 2150: 2144: 2143: 2141: 2139: 2118: 2103: 2102: 2099: 2097: 2095: 2074: 2068: 2067: 2065: 2063: 2046: 2035: 2034: 2026: 2003: 2002: 1999: 1997: 1995: 1973: 1940: 1939: 1936: 1934: 1932: 1923:. Archived from 1906: 1900: 1899: 1897: 1895: 1878: 1849: 1848: 1846: 1844: 1827: 1818: 1817: 1810: 1804: 1803: 1801: 1799: 1783: 1777: 1776: 1774: 1772: 1767:on 12 April 2018 1763:. Archived from 1751: 1745: 1744: 1742: 1740: 1726: 1709: 1664: 1658: 1655: 1620: 1615: 1614: 1613: 1189: 1188: 1161:, remarked that 1138:her character". 1132: 1078: 1016: 847:Gerard ter Borch 811:, but knew that 715:as director and 535:Johannes Vermeer 482:Johannes Vermeer 372:Johannes Vermeer 277: 275: 266: 264: 251: 249: 226:Lions Gate Films 222:(United Kingdom) 33: 21: 20: 5366: 5365: 5361: 5360: 5359: 5357: 5356: 5355: 5181: 5180: 5179: 5174: 5160: 5138:Chasing Vermeer 5071:Maria de Knuijt 5067:(mother-in-law) 5053: 5026:(1934 painting) 5008: 4999:Laura J. Snyder 4984:Jonathan Janson 4967: 4948: 4894:The Love Letter 4662: 4637: 4632: 4602: 4597: 4559:Hannibal Rising 4533: 4527: 4497: 4492: 4370: 4365: 4332:Rotten Tomatoes 4295: 4294: 4291: 4281: 4261: 4259:Further reading 4251: 4197: 4176: 4168:. I.B. Tauris. 4157: 4139: 4134: 4133: 4123: 4121: 4113: 4112: 4108: 4098: 4096: 4095:. MLIM Holdings 4083: 4079: 4069: 4067: 4060: 4056: 4055: 4051: 4041: 4039: 4026: 4025: 4021: 4011: 4009: 3990: 3986: 3976: 3974: 3966: 3965: 3961: 3951: 3949: 3936: 3935: 3931: 3921: 3919: 3906: 3905: 3901: 3891: 3889: 3878: 3877: 3873: 3863: 3861: 3848: 3847: 3843: 3833: 3831: 3818: 3817: 3813: 3803: 3801: 3777: 3770: 3760: 3758: 3742: 3735: 3725: 3723: 3713: 3706: 3696: 3694: 3675: 3671: 3661: 3659: 3644: 3640: 3625: 3624: 3620: 3610: 3608: 3601:Rotten Tomatoes 3594: 3593: 3589: 3579: 3577: 3558: 3549: 3539: 3537: 3527: 3523: 3513: 3511: 3490: 3486: 3476: 3474: 3471:UK Film Council 3466: 3462: 3461: 3457: 3447: 3445: 3438:UK Film Council 3432: 3431: 3427: 3417: 3415: 3408:Box Office Mojo 3401: 3400: 3396: 3386: 3384: 3377:Box Office Mojo 3370: 3369: 3362: 3352: 3350: 3343:Box Office Mojo 3336: 3335: 3331: 3321: 3319: 3303: 3299: 3291: 3282: 3274: 3267: 3259: 3255: 3245: 3243: 3222: 3213: 3203: 3201: 3189: 3185: 3177: 3173: 3167:Sager Eidt 2008 3165: 3161: 3155:Sager Eidt 2008 3153: 3149: 3143: 3136: 3134: 3133:on 11 June 2014 3113: 3109: 3099: 3097: 3084: 3080: 3070: 3068: 3056: 3047: 3037: 3035: 3033:Box Office Mojo 3019: 3015: 3005: 3003: 2987: 2983: 2973: 2971: 2959: 2955: 2945: 2943: 2927: 2923: 2913: 2911: 2910:on 6 March 2014 2890: 2881: 2871: 2869: 2862:The Daily Beast 2853: 2849: 2839: 2837: 2821: 2817: 2807: 2805: 2793: 2789: 2779: 2777: 2776:on 15 June 2013 2766: 2762: 2752: 2750: 2745: 2744: 2740: 2734: 2727: 2725: 2724:on 11 June 2014 2710: 2706: 2700: 2693: 2691: 2690:on 11 June 2014 2670: 2645: 2639: 2632: 2630: 2629:on 11 June 2014 2609: 2600: 2594: 2587: 2585: 2584:on 11 June 2014 2564: 2560: 2550: 2548: 2546:Gannett Company 2532: 2528: 2522: 2515: 2513: 2512:on 11 June 2014 2506:Tribune Company 2501:Chicago Tribune 2492: 2488: 2482: 2475: 2473: 2472:on 11 June 2014 2452: 2448: 2438: 2436: 2424: 2420: 2410: 2408: 2396: 2387: 2377: 2375: 2359: 2350: 2340: 2338: 2323: 2322: 2315: 2305: 2303: 2291: 2284: 2274: 2272: 2260: 2247: 2237: 2235: 2234:on 6 March 2014 2218:"Shining stars" 2214: 2210: 2200: 2198: 2187: 2186: 2179: 2169: 2167: 2151: 2147: 2137: 2135: 2119: 2106: 2100: 2093: 2091: 2090:on 11 June 2014 2083:The Irish Times 2076: 2075: 2071: 2061: 2059: 2047: 2038: 2028: 2027: 2006: 2000: 1993: 1991: 1990:on 11 June 2014 1974: 1943: 1937: 1930: 1928: 1927:on 11 June 2014 1907: 1903: 1893: 1891: 1879: 1852: 1842: 1840: 1828: 1821: 1812: 1811: 1807: 1797: 1795: 1785: 1784: 1780: 1770: 1768: 1753: 1752: 1748: 1738: 1736: 1734:UK Film Council 1728: 1727: 1723: 1718: 1713: 1712: 1665: 1661: 1656: 1652: 1647: 1616: 1611: 1609: 1606: 1187: 1153:Owen Gleiberman 1130: 1080: 1071: 1063: 1045:In the US, the 1043: 1025:. The film was 1014: 1009: 1004: 966: 957: 914:Jacques Audiard 902: 896: 872: 851:mounted animals 803:Stanley Kubrick 795: 700: 672:Tracy Chevalier 630: 625: 620: 603:Anna Popplewell 591:Gabrielle Reidy 526: 495:Vermeer's rich 466: 364:Tracy Chevalier 311: 288: 281: 273: 271: 262: 260: 247: 245: 238: 231: 228:(United States) 208: 207: 204:Wild Bear Films 188:UK Film Council 180: 178: 143: 94: 72:Tracy Chevalier 69: 36: 17: 12: 11: 5: 5364: 5354: 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5298: 5293: 5288: 5283: 5278: 5273: 5268: 5263: 5258: 5253: 5248: 5243: 5238: 5233: 5228: 5223: 5218: 5213: 5208: 5203: 5198: 5193: 5176: 5175: 5165: 5162: 5161: 5159: 5158: 5150: 5142: 5134: 5126: 5118: 5116:Vermeer Centre 5113: 5108: 5103: 5098: 5093: 5088: 5083: 5078: 5068: 5061: 5059: 5055: 5054: 5052: 5051: 5043: 5035: 5027: 5018: 5016: 5010: 5009: 5007: 5006: 5001: 4996: 4991: 4989:Walter Liedtke 4986: 4981: 4975: 4973: 4969: 4968: 4966: 4965: 4964:(c. 1665–1670) 4956: 4954: 4950: 4949: 4947: 4946: 4938: 4937:(c. 1670–1672) 4930: 4929:(c. 1670–1672) 4922: 4921:(c. 1670–1672) 4914: 4913:(c. 1670–1672) 4906: 4905:(c. 1670–1671) 4898: 4897:(c. 1669–1670) 4890: 4889:(c. 1669–1670) 4882: 4881:(c. 1668–1669) 4878:The Geographer 4874: 4870:The Astronomer 4866: 4865:(c. 1666–1668) 4858: 4850: 4849:(c. 1665–1667) 4842: 4841:(c. 1665–1666) 4834: 4826: 4818: 4817:(c. 1662–1665) 4810: 4802: 4794: 4786: 4785:(c. 1662–1663) 4778: 4777:(c. 1662–1663) 4770: 4769:(c. 1660–1662) 4762: 4761:(c. 1660–1661) 4754: 4750:The Wine Glass 4746: 4745:(c. 1659–1660) 4738: 4737:(c. 1658–1659) 4730: 4729:(c. 1657–1659) 4722: 4721:(c. 1657–1658) 4714: 4713:(c. 1657–1658) 4706: 4698: 4690: 4682: 4681:(c. 1653–1656) 4674: 4670:Saint Praxedis 4666: 4651: 4645: 4643: 4639: 4638: 4631: 4630: 4623: 4616: 4608: 4599: 4598: 4596: 4595: 4587: 4579: 4571: 4563: 4555: 4547: 4538: 4535: 4534: 4526: 4525: 4518: 4511: 4503: 4494: 4493: 4491: 4490: 4484: 4478: 4475:Les Misérables 4472: 4466: 4460: 4454: 4448: 4442: 4436: 4430: 4424: 4418: 4412: 4406: 4400: 4394: 4388: 4382: 4375: 4372: 4371: 4364: 4363: 4356: 4349: 4341: 4335: 4334: 4323: 4312: 4301: 4290: 4289:External links 4287: 4286: 4285: 4279: 4260: 4257: 4256: 4255: 4249: 4234: 4216:(3): 255–268. 4201: 4195: 4180: 4174: 4161: 4155: 4138: 4135: 4132: 4131: 4106: 4077: 4049: 4019: 3984: 3959: 3929: 3899: 3871: 3841: 3811: 3768: 3733: 3704: 3678:French, Philip 3669: 3638: 3618: 3587: 3547: 3521: 3510:on 22 May 2007 3484: 3455: 3425: 3394: 3360: 3329: 3297: 3280: 3278:, p. 252. 3265: 3263:, p. 259. 3253: 3211: 3183: 3181:, p. 110. 3171: 3169:, p. 185. 3159: 3157:, p. 184. 3147: 3107: 3078: 3045: 3028:Soundtrack.net 3013: 2981: 2953: 2921: 2879: 2847: 2815: 2787: 2760: 2738: 2704: 2643: 2598: 2558: 2526: 2486: 2446: 2418: 2385: 2348: 2313: 2282: 2245: 2208: 2177: 2145: 2104: 2069: 2036: 2004: 1941: 1901: 1850: 1819: 1805: 1778: 1746: 1720: 1719: 1717: 1714: 1711: 1710: 1659: 1649: 1648: 1646: 1643: 1642: 1641: 1636: 1628: 1622: 1621: 1605: 1602: 1599: 1598: 1595: 1592: 1586: 1585: 1582: 1577: 1571: 1570: 1567: 1566:Eduardo Serra 1564: 1559: 1553: 1552: 1549: 1546: 1540: 1539: 1536: 1533: 1528: 1522: 1521: 1518: 1515: 1509: 1508: 1505: 1504:Eduardo Serra 1502: 1497: 1491: 1490: 1487: 1483: 1482: 1479: 1476: 1470: 1469: 1466: 1465:Eduardo Serra 1463: 1460: 1454: 1453: 1450: 1447: 1443: 1442: 1439: 1436: 1430: 1429: 1426: 1424: 1421: 1415: 1414: 1411: 1406: 1400: 1399: 1396: 1391: 1385: 1384: 1381: 1379:Jenny Shircore 1376: 1370: 1369: 1366: 1363: 1357: 1356: 1353: 1352:Eduardo Serra 1350: 1344: 1343: 1340: 1337: 1331: 1330: 1327: 1322: 1316: 1315: 1312: 1307: 1301: 1300: 1297: 1295:Olivia Hetreed 1292: 1286: 1285: 1282: 1280: 1275: 1269: 1268: 1265: 1262: 1257: 1251: 1250: 1247: 1244: 1238: 1237: 1234: 1229: 1223: 1222: 1219: 1214: 1209: 1207:Academy Awards 1203: 1202: 1199: 1196: 1193: 1186: 1183: 1155:, writing for 1095:, writing for 1064: 1062: 1059: 1042: 1039: 1008: 1005: 1003: 1000: 965: 962: 956: 953: 898:Main article: 895: 892: 887:Jenny Shircore 871: 868: 794: 791: 699: 696: 680:camera obscura 652:Olivia Hetreed 629: 626: 624: 621: 619: 618: 612: 606: 600: 594: 588: 585:Chris McHallem 582: 579: 576:Joanna Scanlan 573: 567: 564:Cillian Murphy 561: 552: 543: 537: 527: 525: 522: 470:Dutch Republic 465: 462: 454:Academy Awards 419:as Griet with 398:Cillian Murphy 356:Olivia Hetreed 337: 336: 335:$ 31.4 million 333: 329: 328: 325: 321: 320: 317: 313: 312: 310: 309: 306: 303: 302:United Kingdom 299: 297: 293: 292: 289: 286: 283: 282: 280: 279: 268: 257: 241: 239: 236: 233: 232: 230: 229: 223: 216: 214: 213:Distributed by 210: 209: 206: 205: 202: 199: 196: 193: 190: 184: 183: 181: 176: 173: 172: 167: 163: 162: 159: 155: 154: 149: 148:Cinematography 145: 144: 142: 141: 138: 136:Joanna Scanlan 133: 128: 126:Cillian Murphy 123: 118: 113: 108: 102: 100: 96: 95: 93: 92: 87: 81: 79: 75: 74: 62: 58: 57: 55:Olivia Hetreed 52: 48: 47: 42: 38: 37: 34: 26: 25: 15: 9: 6: 4: 3: 2: 5363: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5262: 5259: 5257: 5254: 5252: 5249: 5247: 5244: 5242: 5239: 5237: 5234: 5232: 5229: 5227: 5224: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5188: 5186: 5173: 5163: 5156: 5155: 5154:Tim's Vermeer 5151: 5148: 5147: 5146:Vermeer's Hat 5143: 5140: 5139: 5135: 5132: 5131: 5127: 5124: 5123: 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5076: 5072: 5069: 5066: 5063: 5062: 5060: 5056: 5049: 5048: 5044: 5041: 5040: 5036: 5033: 5032: 5028: 5025: 5024: 5020: 5019: 5017: 5015: 5011: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4985: 4982: 4980: 4977: 4976: 4974: 4970: 4963: 4962: 4958: 4957: 4955: 4951: 4944: 4943: 4939: 4936: 4935: 4931: 4928: 4927: 4923: 4920: 4919: 4915: 4912: 4911: 4907: 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1136: 1129: 1128: 1122: 1118: 1113: 1110: 1109:Philip French 1106: 1105: 1100: 1099: 1094: 1090: 1085: 1079: 1077: 1076: 1068: 1058: 1056: 1052: 1048: 1038: 1036: 1031: 1028: 1024: 1020: 1013: 999: 997: 992: 988: 986: 981: 979: 975: 971: 961: 952: 949: 948: 944:minimalism". 943: 939: 938: 933: 932: 926: 924: 918: 915: 911: 907: 901: 891: 888: 883: 881: 877: 867: 864: 858: 856: 852: 848: 842: 839: 832: 831: 825: 821: 819: 814: 810: 809: 805:period drama 804: 800: 799:Eduardo Serra 790: 788: 787: 786:28 Days Later 780: 777: 772: 770: 766: 765: 760: 755: 753: 752:coming of age 748: 740: 736: 732: 730: 729: 724: 723: 718: 717:Ralph Fiennes 714: 710: 705: 695: 693: 689: 683: 681: 675: 673: 669: 668:Andy Paterson 665: 660: 659: 653: 649: 641: 640: 634: 617:as Apothecary 616: 613: 610: 607: 604: 601: 598: 595: 592: 589: 586: 583: 580: 577: 574: 571: 568: 565: 562: 560: 556: 553: 551: 547: 546:Tom Wilkinson 544: 541: 538: 536: 532: 529: 528: 521: 520: 518: 512: 508: 504: 502: 498: 493: 491: 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