One Last Deal

Olavi’s struggling gallery is hit by the arrival of his teenage grandson Otto, who wants work experience. Olavi bluntly says there is no work to be had, and the tension is clear. Lea then appears, pleading with him to take Otto on, and he reluctantly agrees to mentor him.

The gallery is barely afloat, and Olavi yearns for one meaningful sale before the doors close for good. He becomes obsessed with a small unsigned portrait that might be Russian, hoping it could anchor a big auction. The library refuses to send books, and the cash squeeze keeps the gallery clinging to hope.

Otto participates in the painting hunt with a mix of curiosity and skepticism. Olavi makes a point of fostering a genuine love for art in his grandson, not just chasing a sale. Their budding collaboration begins to soften the initial rift between them.

The pursuit centers on Hugo Simberg’s Iltaa kohti, a painting that mirrors a tender, paradoxical bond. The work becomes a touchstone for Olavi and Otto, shaping their growing trust. As they study it, they begin to glimpse a glimmer of promise in their relationship.

A small catalogue hints at a painting titled Kristus with matching dimensions, but there is no photograph to confirm provenance. Olavi scoffs at Otto’s suggestion to Google it, yet the clue plants a seed of a lead. The mystery pulls them deeper into the hunt.

Otto travels to a care facility, posing as a distant relative, and convinces the nurse to let him see what remains. He uncovers a lead tucked away in the back rooms, pushing the investigation forward. The bold outing marks a turning point in their search for answers.

Back at the gallery, Olavi buys the rumored painting for €12,000 plus fees. He shares a photo with his close friend Patu and finally reveals the name attached to it, hinting at immense value. The deal becomes a rare win in a career of mounting losses.

Lea visits the gallery and they share a quiet reminiscence about her childhood among Olavi’s paintings. The moment softens their estrangement, even as the weight of money and risk presses on them. Their fragile connection hints at a possible reconciliation through the art they guard.

Desperation pushes Olavi to explore financing; he invites Lea to dinner to discuss money, but she rebuffs him. Undeterred, he quietly secures several thousand euros and moves to take on an extra loan tied to his mortgage. The pressure to salvage the business grows by the day.

A crucial document confirming provenance lands in his mailbox, tying the painting to a high-profile Russian master and elevating its value. Lea learns of the loan and immediately demands repayment, adding personal stakes to the financial gamble. The equation between art, debt, and family tightens.

Olavi lines up a potential buyer who seems deeply interested, but the buyer fails to show up on the day of the auction. He carries the painting to the buyer anyway only to be refused, leaving him deeper in debt. The failed sale forces him to rethink the future of the gallery.

Facing mounting debt, Olavi must liquidate the gallery and relocate his collection to his apartment. The move underscores how fragile his life's work has become. Otto’s presence grows more important as the pieces shift under his roof.

The auction house admits they had complete provenance all along but failed to organize the paperwork properly, casting doubt on the sale. Olavi confronts the auctioneer, who suggests canceling the purchase, but he refuses to back down. The confrontation reopens questions about who really controls the painting’s value.

A Stockholm Museum art historian explains the painting is not unsigned because it is a forgery, but because it is an icon—an image meant to glorify the divine, with no painter’s signature. The new interpretation shifts everything about the painting’s meaning and value. The revelation reshapes what Olavi and Otto have been chasing.

Olavi dies quietly while tending his apartment, marking the end of an era. After the funeral, the auctioneer’s assessment downplays the collection, while Lea hesitates to part with the work. Olavi’s will leaves the painting to Otto, and Lea ultimately travels home with the piece to pass along to her son.