--- title: "Tim's Vermeer" year: 2013 kind: "film" canonical: "https://film.one/film/tims-vermeer" fi1m_id: "tims-vermeer" imdb_id: "tt3089388" tmdb_id: 212063 wikidata_id: "Q17141501" fi1m_score: 74 critics_score: 72 critics_reviews: 18 published: "2026-10-01T22:57:40.550214+00:00" updated: "2026-10-01T22:57:57.677033+00:00" region: "HR" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Tim's Vermeer (2013) Directed by Teller · 1h 20m · Documentary ## Identity Tim's Vermeer - **Canonical:** https://film.one/film/tims-vermeer - **Type:** Film - **Fi1m ID:** tims-vermeer - **IMDb ID:** tt3089388 - **TMDB ID:** 212063 - **Wikidata ID:** Q17141501 - **Same entity:** https://www.imdb.com/title/tt3089388/, https://www.themoviedb.org/movie/212063, https://www.wikidata.org/wiki/Q17141501 **Fi1m score: 74** · Critics 72 from 18 reviews *In a sentence:* A man copying a painting should not be this absorbing, or make our unfinished shelves quite so embarrassing > Teller’s documentary makes the painstaking business of copying a painting surprisingly engaging. Tim Jenison’s patience and dry humour carry it, though his theory about Vermeer deserves tougher questions than the film asks. ## Synopsis Tim Jenison wants to understand how Johannes Vermeer made paintings with such a photographic quality. He sets out to recreate *The Music Lesson*, turning a question about technique into a practical experiment in painting. Tim Jenison, Penn Jillette and David Hockney appear as themselves as the documentary follows his investigation into the possible connections between art and technology. Making a replica requires more than finding a plausible explanation, however. He has to commit to the painstaking work of painting it, testing his ideas against the demands of the image. ## Review *Tim’s Vermeer* is an engaging documentary about a man willing to do an unreasonable amount of work to test an idea. Tim Jenison wants to understand how Vermeer painted, and attempts a recreation of *The Music Lesson* as a way of finding out. Teller gives that undertaking enough attention for the effort itself to become interesting. We would happily recommend it to anyone curious about how pictures are made, provided they can tolerate a shortage of scepticism. Tim Jenison’s dry humour helps, because painstaking reconstruction could easily make for a punishing evening. His enthusiasm makes the technical questions approachable, and he gives us a reason to care about the next stage of work without demanding that we already care about Vermeer. We were unexpectedly moved by his persistence as the painting became arduous. The sheer willingness to keep going gives the film a human subject beyond the question of how accurately an image can be reproduced. Shane F. Kelly’s cinematography serves the investigation by making the painting process something we can examine, and the plain usefulness of that is worth appreciating. Patrick Sheffield’s editing keeps the technical material manageable without making the undertaking seem easy. The balance slips as the work continues, and the later stretch drags despite the 80-minute running time. Repetition helps us appreciate the patience involved, but we do not need quite so much help. Conrad Pope’s music provides amiable company, though it is the humour that does most to relieve the grind. David Hockney’s appearance brings another welcome touch of wit to a film that might otherwise become too solemn about its experiment. Penn Jillette and Teller share the writing credit, and the explanations remain accessible even when the subject threatens to become specialised. There is pleasure in understanding what Tim Jenison is trying to do and then watching how much work it requires. The weakness is how little resistance the central theory meets. Teller makes the pursuit easy to enjoy, but leaves us wanting somebody to ask harder questions about what this recreation can establish about Vermeer’s methods. What would count against the explanation? We need more evidence before drawing conclusions about how the original was painted, however much we admire the person attempting to reproduce it. The film allows our affection for Tim Jenison to do too much of the persuading. The film makes a useful case for technology as part of artistic work. Seeing how much patience a proposed technique demands makes copying seem sufficiently daunting, before anyone has to decide what to paint. That is a worthwhile subject for an art documentary, even one that leaves the appeal of the original picture underexplored. We wanted more about *The Music Lesson* itself, but the attention paid to making a replica has value. Watch it with someone who likes making things and is prepared to argue afterwards. There is plenty here to enjoy without accepting every implication of the experiment. Anyone tempted to try something similar may want to clear more than an evening. *Fi1m score 74, published 1 October 2026.* ## What the critics say Most critics find Tim’s Vermeer an engaging, often funny account of Tim Jenison’s attempt to recreate a Vermeer painting. Praise centres on his patience, inventiveness and dry humour, and on filmmaking that makes painstaking technical work accessible. The reviews repeatedly find pleasure in watching the experiment develop, with several also finding it unexpectedly moving. For the more enthusiastic critics, its exploration of art and technology deepens appreciation of the skill involved rather than explaining away the achievement. The reservations concern how much the experiment proves, and how closely the film examines its own claims. Some critics find the larger questions about Vermeer unanswered; others note that the reconstruction eventually loses momentum. The spread is fairly wide, though clearly weighted towards approval. IndieWire questions the lack of a critical voice, while The New Yorker offers the sharpest dissent, finding that a fascinating process becomes a mechanically presented stunt. ## Straight answers **Is Tim's Vermeer worth watching?** *Tim's Vermeer* is worth watching for anyone curious about how pictures are made; we score it 74 for its accessible explanations, dry humour and absorbing practical experiment. Tim Jenison’s persistence moves us, though the later stages drag and we wish the film asked harder questions about what his recreation proves about Vermeer’s methods. **How long is Tim's Vermeer, and what is it rated?** *Tim's Vermeer* runs 1h 20m. It is a documentary film. **Where can I watch Tim's Vermeer in Croatia?** *Tim's Vermeer* is available to rent from Amazon Prime Video from HRK 3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Tim's Vermeer, and is it suitable for children?** *Tim's Vermeer* carries a UK 12 certificate, so we would not treat it as an unrestricted choice for younger children. Its painstaking painting experiment is better suited to curious teenagers and adults interested in art or making things. The certificate alone does not tell us what specific violent, frightening or adult material it contains. **How does Tim's Vermeer compare to The Gleaners and I?** *Tim's Vermeer* offers a more focused account of creative work than [*The Gleaners and I*](https://film.one/film/the-gleaners-and-i), following one painstaking painting experiment rather than people finding uses for discarded things. We would choose *The Gleaners and I* for its broader human curiosity, despite some wandering, and *Tim's Vermeer* for approachable technical detail, with the caveat that its central theory needs tougher questioning. ### Reviews we read (18) - **Los Angeles Times**, Betsy Sharkey (90/100, inferred): Sharkey presents the documentary as extraordinary. Its fascinating focus is Tim Jenison’s attempt to recreate a Johannes Vermeer painting. [Read](https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-tims-vermeer-review-20131213-story.html) - **IndieWire**, Eric Kohn (B+): Kohn finds the documentary surface-deep but engaging, with Jenison’s creative quest making the journey worthwhile. He praises Jenison’s infectious enthusiasm while faulting the film for lacking a critical voice on its central theory. [Read](https://www.indiewire.com/criticism/culture/review-an-inventor-learns-to-paint-but-is-it-art-exploring-tims-vermeer-30599/) - **Evening Standard**, The Standard (80/100, inferred): The critic finds the documentary bizarre, moving and witty, and says it makes viewers reconsider Vermeer’s work. They praise its generous spirit and its exploration of creativity, while singling out Jenison’s detailed recreation of The Music Lesson. [Read](https://www.standard.co.uk/culture/film/tims-vermeer-film-review-9066146.html) - **The Hollywood Reporter**, Todd McCarthy (80/100, inferred): McCarthy finds the documentary entertaining and accessible, and sees Jenison’s experiment as making Vermeer’s methods more understandable without diminishing his achievement. He particularly praises the remarkable likeness Jenison creates and the film’s engaging exploration of art and technology. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/tims-vermeer-film-review-630089/) - **Variety**, Peter Debruge (80/100, inferred): Debruge finds the documentary an exceptionally entertaining, lean account of Jenison’s obsessive experiment. He praises its lively presentation of the painstaking recreation, while noting that it leaves the larger questions about art and Vermeer largely unresolved. [Read](https://variety.com/2013/film/markets-festivals/telluride-film-review-tims-vermeer-1200596123/) - **Vulture**, Bilge Ebiri (78/100, inferred): Ebiri finds the documentary charming and thoughtful, concluding that its attempt to demystify art leaves viewers with even greater awe. He praises its exploration of how technology and artistic inspiration can work together. [Read](https://www.vulture.com/2013/12/movie-review-tims-vermeer-penn-teller.html) - **Empire**, Phil de Semlyen (75/100, inferred): The review finds the documentary enthralling, funny and occasionally maddening, though it loses momentum in its final third. It praises Jenison’s dry humour and a wry David Hockney cameo among the film’s compensatory pleasures. [Read](https://www.empireonline.com/movies/reviews/tim-vermeer-review/) - **Slant Magazine**, Bill Weber (3/4): Weber finds the documentary’s investigative quest engaging and its final emotional payoff cathartic. He particularly praises the pleasurable discoveries in Jenison’s detective work and the commitment behind recreating Vermeer’s painting process. [Read](https://www.slantmagazine.com/film/tims-vermeer/) - **Screen Daily**, Anthony Kaufman (65/100, inferred): The review’s verdict and specific praise or complaint are not visible in the accessible page text. Only the headline and review metadata are available. [Read](https://www.screendaily.com/tims-vermeer/5060132.article) - **The New York Times** (65/100, inferred): The article appears to be a review of the specified film, but its text is inaccessible here. I cannot verify the critic’s verdict or what the review singles out for praise or complaint. [Read](https://www.nytimes.com/2014/01/31/movies/tims-vermeer-chronicles-an-attempt-to-make-one.html) - **Film Comment**, Nicolas Rapold (64/100, inferred): The festival dispatch discusses Tim’s Vermeer alongside The Unknown Known, but the available text does not reveal its verdict. No specific praise or complaint about the film is visible in the supplied excerpt. [Read](https://www.filmcomment.com/tiff-2013-the-unknown-known-errol-morris-tims-vermeer-penn-and-teller/) - **Time Out**, Eric Hynes (3/5): The review gives the film a middling three-star rating. Its premise centers on the investigation of Vermeer’s paintings and their uncanny photographic quality. [Read](https://www.timeout.com/movies/tims-vermeer) - **The Guardian**, Andrew Pulver (50/100, inferred): Pulver finds the documentary entertaining but ultimately says it reveals little about why Vermeer’s paintings are great. He singles out Jenison’s grim determination as the film shows the arduous work of painting the replica. [Read](https://www.theguardian.com/film/2014/jan/16/tims-vermeer-review) - **The New Yorker** (35/100, inferred): The critic finds the film’s discoveries astonishing but says the movie reduces a fascinating process to a stunt. The film’s brief moments of scientific discovery are singled out for praise, while its rushed, mechanical presentation draws criticism. [Read](https://www.newyorker.com/goings-on-about-town/movies/tims-vermeer-2) - **Collider**, Phil Brown (A-): The critic gives the documentary an enthusiastic verdict, calling it funny, moving, and among the year’s best. They especially praise Jenison’s remarkable recreation project and Penn & Teller’s humor and knack for revealing how the apparent trick works. [Read](https://collider.com/tims-vermeer-review/) - **Den of Geek**, Ryan Lambie (90/100, inferred): Lambie calls the documentary an essential watch for film geeks and finds its case for artistic ingenuity compelling. He especially praises Tim Jenison’s inventive, painstaking reconstruction and the film’s exploration of art and technology. [Read](https://www.denofgeek.com/culture/why-tims-vermeer-is-the-ultimate-geek-documentary/) - **HeyUGuys**, Gary Green (4/5): Green praises the documentary as a delightful, quietly compelling account of Tim Jenison’s pursuit of Vermeer’s painting methods. He singles out Jenison’s devotion and Teller’s restrained filmmaking for letting the art speak for itself. [Read](https://www.heyuguys.com/tims-vermeer-review/) - **The Wrap** (75/100, inferred): The reviewer finds the documentary entertaining and its subject’s artistic quest compelling, though the project and film briefly lose momentum. They particularly praise how Penn and Teller make potentially technical material lively and accessible. [Read](https://www.thewrap.com/tims-vermeer-review/) ## Details - **Director:** Teller - **Director:** Teller - **Writer:** Penn Jillette, Teller - **Cinematography:** Shane F. Kelly - **Editor:** Patrick Sheffield - **Music:** Conrad Pope - **Producer:** Farley Ziegler, Penn Jillette - **Cast:** Tim Jenison as Himself; Penn Jillette as Himself; Martin Mull as Himself; Teller as Himself; Philip Steadman as Himself; David Hockney as Himself; Colin Blakemore as Himself - **Runtime:** 1h 20m - **First release (the US):** 29 August 2013 - **Genres:** Documentary ## Where to watch in Croatia - Amazon Prime Video: rent HRK 3.99, hd - Amazon Prime Video: buy HRK 7.99, sd *Checked 2026-10-01.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RS, SE, SG, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *F for Fake* (1973): A playful investigation of authorship and deception, with healthy distrust built in. - *Rivers and Tides* (2001): Patient attention to an artist working makes the practical difficulties absorbing. - *The Mystery of Picasso* (1956): Watch paintings take shape, with the fascination concentrated on the act of making. - *The Gleaners and I* (2000), Fi1m 85: Another curious documentary that finds creativity in work most people overlook. — [Fi1m page](https://film.one/film/the-gleaners-and-i.md) - *Jiro Dreams of Sushi* (2011): Another exacting craftsman makes repetition compelling, though perfection comes at a cost. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/tims-vermeer