‘Auction’ Review: Léa Drucker in a Crafty French Tale of Art, Money and Social Class – The Hollywood Reporter

Analysis of the Film ‘Auction’ in the Context of Sustainable Development Goals

Introduction: Narrative Synopsis and Thematic Framework

The film ‘Auction’ (Le tableau volé), directed by Pascal Bonitzer, presents a narrative centered on the discovery of a historically significant painting and the subsequent ethical and economic dilemmas. The plot provides a compelling case study for examining progress toward several key United Nations Sustainable Development Goals (SDGs).

• Plot Catalyst: A long-lost 1914 painting by Egon Schiele, Wilted Sunflowers, is discovered by a young factory worker, Martin, in the home of his working-class family.
• Central Conflict: The narrative explores the tension between the immense commercial value of art and the moral imperative for historical reparation, set within the competitive environment of a Parisian auction house.
• Protagonist’s Role: The auctioneer, André, must navigate the conflicting interests of his profit-driven employer, the family who found the painting, and the heirs of the original Jewish owner from whom the artwork was looted by the Nazis during World War II.

Alignment with SDG 16: Peace, Justice and Strong Institutions

The film’s primary theme is the pursuit of justice for historical wrongs, directly engaging with the principles of SDG 16. The narrative arc follows the process of rectifying a past injustice through the mechanisms of modern institutions.

1. Acknowledging Historical Injustice: The painting’s provenance is traced back to an Austrian Jewish collector who was forced to surrender it during WWII. This backstory frames the entire film as an exercise in transitional justice.
2. Institutional Integrity: The fictional Scottie’s auction house and its agent, André, are tested on their commitment to ethical conduct over pure profit. The film advocates for institutions that are accountable and just in their operations, even when faced with multi-million-dollar commissions.
3. Upholding the Rule of Law: By striving to broker a sale that respects the claims of the rightful heirs, the protagonist works to uphold international principles regarding the restitution of looted cultural property, thereby strengthening the rule of law.

Addressing Social and Economic Disparities (SDG 10: Reduced Inequalities)

‘Auction’ highlights the stark contrast between different socioeconomic strata, using the painting as a bridge between them. The resolution of the plot offers a model for reducing inequality.

• Social Class Juxtaposition: The film deliberately contrasts the modest, blue-collar life of Martin’s family in Mulhouse with the opulent, high-stakes world of Parisian art dealers, lawyers, and collectors.
• Opportunity for Economic Inclusion: The discovery presents a life-changing economic opportunity for the working-class family. The narrative’s focus on a fair and ethical outcome ensures that the benefits are distributed in a way that helps mitigate economic disparity.
• Fair Brokerage: The protagonist’s efforts to secure a deal that honors both the finders and the original owners’ heirs is a direct action toward a more equitable distribution of resources.

Safeguarding Cultural Heritage (SDG 11: Sustainable Cities and Communities)

The film underscores the importance of protecting and safeguarding cultural heritage, a key target (11.4) of SDG 11.

• Art as Cultural Heritage: The Schiele painting is treated not merely as a commodity but as a priceless piece of cultural history that was displaced by conflict.
• Responsible Stewardship: The plot revolves around the responsible handling of this recovered artifact. The process of authentication, historical research, and ethical negotiation demonstrates the necessary steps to protect and preserve such items.
• Historical Reparation: The film concludes with a message about the importance of historical reparation, suggesting that the greater good is served when communities and institutions work together to restore cultural heritage to its rightful context.

Promoting Ethical Economic Growth (SDG 8: Decent Work and Economic Growth)

The narrative provides a critical look at the art market, questioning its ethics while ultimately presenting a path toward more sustainable and responsible economic activity.

• Critique of a ‘Heartless World’: The film initially portrays the auction world as a ruthless, “cutthroat” environment driven solely by commission.
• A Model for Ethical Business: The protagonist, André, evolves from a seemingly conniving operator into a figure who champions an ethical resolution. His actions demonstrate that it is possible to achieve economic success while upholding moral principles and contributing to social good.
• Value Beyond Price: The film argues for a valuation of art that transcends its monetary price tag, promoting a form of economic activity that respects cultural, historical, and human values.

Analysis of Sustainable Development Goals in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

The article discusses issues that are directly connected to the following Sustainable Development Goals (SDGs):

• SDG 16: Peace, Justice and Strong Institutions: This goal is central to the article’s narrative. The plot revolves around a painting stolen from a Jewish collector by the Nazis during WWII. The subsequent efforts to broker a sale that respects the “rightful heirs” and achieves “historical reparation” directly address the themes of justice, the rule of law, and the recovery of stolen assets. The article highlights the ethical challenges within the art auction world, contrasting it with the protagonist’s attempt to ensure a just outcome.
• SDG 11: Sustainable Cities and Communities: This goal is relevant through its focus on protecting cultural heritage. The painting, Egon Schiele’s “Wilted Sunflowers,” is a significant piece of cultural heritage that was lost for decades. The story of its discovery and the subsequent actions taken to manage its legacy connect to the efforts of safeguarding the world’s cultural assets.

2. What specific targets under those SDGs can be identified based on the article’s content?

Based on the article’s content, the following specific SDG targets can be identified:

1. Target 16.4: By 2030, significantly reduce illicit financial and arms flows, strengthen the recovery and return of stolen assets and combat all forms of organized crime.
   • The core of the film’s plot is about a stolen asset—the painting that “was bought by an Austrian Jewish collector, who was forced to hand it over to the Nazis before fleeing to the U.S during WWII.” The entire narrative focuses on the fate of this stolen artwork, its recovery, and the process of its return to the market in a way that acknowledges its history, which directly aligns with the “recovery and return of stolen assets” component of this target.
2. Target 16.3: Promote the rule of law at the national and international levels and ensure equal access to justice for all.
   • The article describes the film’s message as one of “historical reparation.” The protagonist, André, works to “broker a sale while respecting the wishes of the paintings’ rightful heirs.” This effort to achieve a fair and just outcome for the heirs of the original owner, who was a victim of historical injustice, is a clear embodiment of promoting justice.
3. Target 11.4: Strengthen efforts to protect and safeguard the world’s cultural and natural heritage.
   • The painting is described as a “prized painting” and a “long lost 1914 work.” Its discovery after being “untouched for decades” and the subsequent efforts to manage its sale and history represent an act of safeguarding cultural heritage that was previously lost. The story highlights the value of “great art beyond its price tag,” reinforcing the importance of its protection.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

The article, being a film review, does not list official SDG indicators. However, it mentions or implies several qualitative and quantitative measures that can serve as indicators of progress towards the identified targets:

• Indicator for Target 16.4 (Recovery of stolen assets): The article mentions a real-world event that inspired the film, providing a concrete indicator: “Wilted Sunflowers was sold by Christie’s for over $13 million.” This monetary value recovered from the sale of a stolen asset serves as a quantitative indicator of successful recovery and return. The film’s plot, which focuses on brokering a sale for the painting, implies that the successful and ethical sale of the artwork is a key measure of progress.
• Indicator for Target 16.3 (Access to justice): The primary implied indicator is the achievement of “historical reparation.” The outcome where the “wishes of the paintings’ rightful heirs” are respected in the final deal is a qualitative indicator that justice has been served for the victims of the historical theft.
• Indicator for Target 11.4 (Safeguarding cultural heritage): The discovery and recovery of the “long lost” painting itself is an indicator. The fact that a significant cultural artifact, which was “sitting untouched for decades,” is found and its history is brought to light is a measure of progress in safeguarding cultural heritage.

4. Table of SDGs, Targets, and Indicators

Source: hollywoodreporter.com