On April 13, 2013, Amsterdam’s massive Rijksmuseum finally reopened its doors after hundreds of millions of Euros spent over ten years of construction, renovation, contract disputes, staff resignations and protestations about access for cyclists. The reopening was an unqualified success, with The Economist calling it a “New Golden Age.” That roundabout road to reopening, however, was paved with seemingly endless setbacks and uncertainties, and the troubled renovation risked national embarrassment for The Netherlands. Watching Oeke Hoogendijk’s sprawling documentary The New Rijksmuseum in its full four-part, four-hour cut, the task at hand often feels like one that may never be completed. And that’s exactly what makes the documentary so engrossing. The film gives immediate access to the experience of the renovation amongst an epic cast of characters, from museum directors to site caretakers to cycling activists to restoration artists. Often, even from the benefit of the present, it seems that the fruits of such incredibly ambitious labor may never come to pass. The New Rijksmuseum, in other words, gives direct access to how the many people involved in the restoration must have felt at any given moment: their uncertainty, their pessimism, their intermittent joy and their marvel at the trove of artifacts and histories that the museum offers.