Ruben Brandt, Collector

Ruben Brandt is plagued by nightmares featuring the artwork of renowned painters. During a train journey with Duveneck's *Whistling Boy*, this nightmare becomes visually manifest with an attack from Velázquez's *Infanta Margarita Teresa*. This incident underscores his psychological struggles.

Acrobatic thief Mimi executes a thrilling heist at the Louvre Museum, stealing the famed *Cleopatra's Fan*. However, this act was originally part of her task to acquire the *le Régent Diamant*, showcasing her kleptomaniac tendencies.

Realizing her compulsive behavior, Mimi turns to psychotherapist Ruben Brandt for guidance. During their sessions, she learns vital coping strategies as he counsels her to 'possess your problems to conquer them,' initiating a new path toward self-improvement.

Through their therapeutic sessions, Mimi discovers that Ruben suffers from panic attacks triggered by the painting *Venus of Urbino*. This shared vulnerability paves the way for Mimi's bold plan to help him confront his fears directly.

Motivated by her desire to assist Ruben, Mimi organizes a heist involving his other patients, including former bodyguard Bye-Bye Joe and fellow thieves. They aim to steal *Venus of Urbino*, acting out the advice Ruben imparted.

As the heists gain momentum, the media dub the enigmatic thief 'The Collector.' This newfound notoriety captivates public attention, leading to the establishment of a reward for information about the thief, drawing investigator Mike Kowalski into the unfolding drama.

John Cooper, a former CIA associate of Brandt's father, uncovers the link between Ruben and the thefts. Before he can relay this vital information to Kowalski, he meets a brutal fate at the hands of mercenary Kris Barutanski, heightening the stakes.

In the process of his investigation, Kowalski stumbles upon subliminal film clips at Brandt’s late father's house. This discovery forces him to confront disturbing truths about his own lineage, revealing that he is also related to Ruben.

While attempting to steal a painting by Renoir, Brandt and his team encounter an unexpected police ambush. Despite the situation's gravity, they display remarkable agility, escaping from both the police and Delangello's henchmen.

Mimi experiences a profound dream where she finally controls her kleptomaniac urges. The emotional complexity heightens as this transformative revelation is complicated by her feelings for both Ruben and Kowalski.

The group identifies their ultimate target: Warhol's *Elvis I, II*, located in Tokyo. With Kowalski unraveling the painting's significance, they devise an elaborate scheme to achieve their objective under the ruse of a public performance.

As the heist unfolds in Tokyo, chaos erupts when Delangello's men recognize the group's intentions. What began as a performance quickly spirals out of control, yet the team manages to execute their plan and steal the coveted painting.

In an unexpected twist of fate, Ruben wakes up peacefully on a train, holding a personalized art book gifted by his accomplices. This moment signifies a turning point, contrasting the chaotic events and hinting at newfound tranquility.

As the film concludes, the slow-moving snail in the window reflects the intertwined journeys of the characters. This imagery serves as a poignant metaphor for the complexities of their personal growth and relationships throughout the story.