Tag Archives: Chantal Akerman

Chantal Akerman – Letters Home (1986)

Quote:
Keeping the original theatrical mise-en-scene, the film features Delphine Seyrig and her niece Coralie Seyrig reciting Sylvia Plath’s letters to her mother directly to the audience as though we were the recipients of these private missives. Read More »

Chantal Akerman – Demain On Demenage aka Tomorrow We Move (2004)

FilmLinc wrote:
The late Belgian filmmaker Chantal Akerman brings us an intellectual comedy about a mother and daughter who find themselves living together for the first time in decades. Charlotte, a freelance writer, invites her recently widowed mother, Catherine, to live in her apartment, and the ensuing clutter becomes a source of irritation and strife. When Catherine decides to revitalize her career as a piano teacher, the claustrophobia reaches new and absurd levels. Charlotte continues to pursue her desperate quest for peace as Tomorrow We Move develops into a slyly Jewish tale of rootlessness and familial burdens. Read More »

Chantal Akerman – La folie Almayer AKA Almayer’s Folly (2011)

Quote:
“Liberally adapted,” per onscreen credits, from Joseph Conrad’s first, same-named novel, helmer Chantal Akerman’s interpretation of “Almayer’s Folly” is as eccentric as “La Captive,” her take on Proust. Unfortunately, it’s not as disciplined as that earlier work, and this tale of a French colonialist’s fraught relationship with his mixed-race daughter seems thrown together on a low budget with a too-breezy disregard for cultural specifics. After a powerful opening scene and reasonably strong first act, the pic slowly leaks air. Helmer’s rep should ensure polite interest from fests and niche distribs with a track record of releasing Akerman’s work. Read More »

Callisto McNulty – Delphine et Carole, insoumuses (2019)

Delphine and Carole – Delphine Seyrig, the actress who starred in the films of Resnais and Buñuel, Duras and Akerman; and Carole Roussopoulos, the pioneering video-maker, who, after Jean-Luc Godard, was only the second person in France to use video as a film production tool. From the mid-1970s, in the turbulence of post’68 and the feminist movement, the two women embarked on a militant working partnership, making a series of videos devised as political interventions to champion the struggle of women, whether actresses, prostitutes or workers.
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Jonas Mekas – Birth of a Nation (1997)

Jonas Mekas’ BIRTH OF A NATION (1997) continues the filmmaker’s investigation into the possibilities of film-as-diary to offer glimpses of key figures of experimental cinema, including Stan Brakhage, Tony Conrad, and Michael Snow, compiled from footage shot over four decades. As far back as the masterpieces WALDEN (1969) and LOST, LOST, LOST (1976), Mekas has been turning his roaming camera on those around him, eschewing conventional documentary in favour of a more impressionistic, subjective engagement with his friends and surroundings. Read More »

Chantal Akerman – Hôtel Monterey (1972)

Quote:
New York City’s Monterey is a residence hotel; the residents we see are older, most live alone. The camera, usually stationery, begins with a look into the lobby. The film ends with a panorama from the hotel’s rooftop. There’s no soundtrack. The lobby is clean with granite floors. Men wear hats. People enter and exit an elevator. The camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close. The film provides the feeling of what it’s like to live there. Read More »

Chantal Akerman – Un divan à New York AKA A Couch in New York (1996)

A burlesque comedy made on a large(ish) budget by the mistress of small and often serious independent films.

A temporary apartment swap between a man in New York and a girl in Paris leads to hilarious developments. Henry (William Hurt) is a rich psychiatrist in his forties with a fantastic apartment in New York City. After his relationship breaks up he feels the need to come to himself. He puts an ad in the Paris edition of The Herald Tribune, in which he offers to swap his flat. The young dancer Beatrice (a role in which Juliette Binoche proves her great comic talent) pores over the The Herald every day to improve her English and sees Henry’s ad. Read More »