The film, which premieres in the UK as part of the Jewish Film Festival, follows two fraught restitution cases and two botched exhibitions attempting to honour Max Stern, who liquidated his Dusseldorf gallery in a Nazi-forced auction in 1937.
In recent years restitution has become an endlessly loaded political and cultural issue be it over antiquities, colonial plunder, the Benin Bronzes, the Parthenon marbles, or last week a Monet from Austria.
Across all the disputes, there's a familiar pattern: politicians and museum officials, having ignored the claim as long as possible, finally start making noises about doing the right thing. But inevitably, things get gummed up in endless legal, scholarly or scientific wranglings that drag on and on.
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