In Praise (or Not) of Chantal Akerman

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I just found this clip from D'Est, one of my favorite films.

Eazy, Sunday, 8 February 2009 23:54 (ten years ago) link

er, D'Est.

Eazy, Sunday, 8 February 2009 23:55 (ten years ago) link

i've only seen la captive, which is really good. what besides d'est should go on the netflix queue?

adam, Monday, 9 February 2009 01:14 (ten years ago) link

There's not a lot else out. Jeanne Dielman is amazing, an acheivement not just for Ackerman but also Delphine Seyrig. A new print has just started touring. About a year back I saw Ju, Tu, Ill, Elle in rep, and I can assure you that neither myself or any of the other 30 or so people in attendence were prepared for those final scenes ;-)

I saw A Couch In New York (her romcom w/ J. Binoche) on tv along time ago. I recall it being ok.

There's is also a really good film she did for French TV called "Ackerman on Ackerman" wherein she edited a bunch of clips from her films together. It's alot of fun, certainly more fun than you would expect given how dour her work can be.

The Wild Shirtless Lyrics of Mark Farner (C. Grisso/McCain), Monday, 9 February 2009 02:00 (ten years ago) link

Farner, Grisso & McCain is selling Jeanne Dielman short; it's one of the four or five greatest achievements for cinema period. I doubt it will ever be released on DVD, Bloo-Ray, or pixie dust hologram. Besides, it really wouldn't work in the home unless you could insure that its 3 hours and 40 minutes could pass uninterrupted which is essential to its damn near scientific effect on you.

Also check out her musical Window Shopping, her musical without songs Night and Day, and her finest film this decade, the heartbreaking De l'autre côté (From The Other Side).

Kevin John Bozelka, Monday, 9 February 2009 03:01 (ten years ago) link

Uh guys, Jeanne D. is out on DVD! Well, in Europe at least. I recently bought this box set.

Maybe not my fave but 'Toute une Nuit' (All Night Long) made a very strong impression on me. Not sure I could be bothered watching it agaon tho

baaderonixx, Monday, 9 February 2009 09:21 (ten years ago) link

I first heard of her from... dude, I can't remember his name. I interviewed him for some zine. I'm actually pretty sure it was Alan Licht. He mentioned it cause he knew I was from Belgium and so is Chantal. Never did check out her stuff. :-(

Nathalie (stevienixed), Monday, 9 February 2009 13:54 (ten years ago) link

there's still time! all her films have now bene released on dvd, at least in Belgium.

baaderonixx, Monday, 9 February 2009 13:55 (ten years ago) link

I'm no longer a snooty intellectual wannabe. ;-) Srsly though, I should. Where to start?

Nathalie (stevienixed), Monday, 9 February 2009 14:07 (ten years ago) link

maybe we shd correct spelling of Akerman so we can find this thread in future?

Dr Morbius, Monday, 9 February 2009 14:44 (ten years ago) link

The fact that there's a new Janus Films print of Jeanne D. going around right now almost definitely means it will be a Criterion DVD sooner or later.

I caught it at Film Forum a few weeks ago, and it's by far the best film I've seen in a long, long time. I was absolutely riveted.

Hatch, Monday, 9 February 2009 17:44 (ten years ago) link

Man what I wouldn't give for the nft to screen a season of her films (instead of boring ol' Kubrick). Search: Dielman (and Manny Farber's essay on it), Captive (all I've seen so far) and try to catch her video art. You get the harsh angles and all that.

xyzzzz__, Monday, 9 February 2009 20:52 (ten years ago) link

btw I read somewhere she said of Jeanne's third client, "It was him or her, and I'm glad it was him."

Dr Morbius, Monday, 9 February 2009 21:00 (ten years ago) link

Farner, Grisso & McCain is selling Jeanne Dielman short; it's one of the four or five greatest achievements for cinema period. I doubt it will ever be released on DVD, Bloo-Ray, or pixie dust hologram. Besides, it really wouldn't work in the home unless you could insure that its 3 hours and 40 minutes could pass uninterrupted which is essential to its damn near scientific effect on you.

I kinda had to sell it short, otherwise I'd get all gushy and shit. I'll just say that it captures a particular state of mind (which I unforutunately knew all too well when I viewed it) (and kind of getting back into at the moment). No film quite says "What's the use?" as well or as knowingly.

I think about the film often. The other day I was having breakfast at a usual haunt. There is this group of old ladies who come in every day, sit at the same table and drink coffee. This particular day someone (for the first time in long time) came in before them and claimed their table. The ladies came in and where quietly miffed at this development. I thought to myself, "This is just like what happend to Jeanne Dielman at the bar!" Not sure what the women did later. Hopefully that didn't respond the same way JD did.

BTW, for those of you who've seen more of her films, which one has a scene set at a party with a bunch of kids dancing to "La Bamba" and then "It's A Man's Man's Man's World"? The clip was featured in "Akerman on Ackerman" and I'd like to someday checkout the film which originally contained that brilliant scene.

The Wild Shirtless Lyrics of Mark Farner (C. Grisso/McCain), Monday, 9 February 2009 21:11 (ten years ago) link

love the old lady on line @ post office in JD.

Dr Morbius, Monday, 9 February 2009 21:12 (ten years ago) link

i have asked for a title correction.

jed_, Monday, 9 February 2009 21:18 (ten years ago) link

thread title, i mean.

jed_, Monday, 9 February 2009 21:18 (ten years ago) link

that was quick! thanks tehresa!

jed_, Monday, 9 February 2009 21:21 (ten years ago) link

which one has a scene set at a party with a bunch of kids dancing to "La Bamba" and then "It's A Man's Man's Man's World"?

doesnt ring bell, but maybe it's from that musical she did, "Golden Eighties"?

baaderonixx, Monday, 9 February 2009 22:12 (ten years ago) link

Don't remember that particular number in that one.

lemmy tristano (James Redd and the Blecchs), Tuesday, 10 February 2009 16:45 (ten years ago) link

Yeah, I checked on IMDB and the description doesn't match (although that film was also excerpted for "A on A"). From what I could gather from the other clips, the mystery film is about a teenage lesbian who runs away from home. Somewhere along the way she gets to go to a house party. There she gets to dance with a pretty girl to "La Bamba" while everyone else surrounds them in a circle (like a "spotlight dance"). Then "IAMMMW" comes on and the pretty girl's boyfriend comes in and pushes the heroine out of the circle so he can dance. From what I remember, Ackerman does some really effective cross-cutting on the girls, which combined with the song choices, perfectly conveys the excitement of the moment (and the ultimate disappointment as well).

The Wild Shirtless Lyrics of Mark Farner (C. Grisso/McCain), Tuesday, 10 February 2009 17:02 (ten years ago) link

BTW, according to a poster on the criterion forum who saw Criterion's Kim Hendrickson speak the other night, Criterion is planning on releasing Jeanne Dielman later this year.

The Wild Shirtless Lyrics of Mark Farner (C. Grisso/McCain), Tuesday, 10 February 2009 17:05 (ten years ago) link

three months pass...

Watched this last night:

http://ecx.images-amazon.com/images/I/51Y9HKWY6JL._SS500_.jpg

Verdict: awesome (and not just because I have a crush of shame on Testud)

The Wild Shirtless Lyrics of Mark Farner (C. Grisso/McCain), Friday, 5 June 2009 16:52 (ten years ago) link

Coming in August (the 25th to be exact)

http://www.criterionforum.org/images/484_box_348x490.jpg

The Wild Shirtless Lyrics of Mark Farner (C. Grisso/McCain), Friday, 5 June 2009 16:56 (ten years ago) link

News From Home, is the one I'm keen on, predictably.

admrl, Friday, 5 June 2009 17:59 (ten years ago) link

xpost

Bout time! Arguably the greatest film ever made. And what a great cover!

Kevin John Bozelka, Friday, 5 June 2009 21:06 (ten years ago) link

Terrific news!!

xyzzzz__, Friday, 5 June 2009 21:31 (ten years ago) link

four months pass...

Coming In January

Roomful of Moogs (C. Grisso/McCain), Friday, 16 October 2009 14:03 (ten years ago) link

Just got Jeanne Dielman from Netflix the other day; looking forward to watching it this weekend.

M. Grissom/DeShields (jaymc), Friday, 16 October 2009 14:08 (ten years ago) link

get ready for a wiiiiiild ride

banned, on the run (s1ocki), Friday, 16 October 2009 22:40 (ten years ago) link

Hahaha.

M. Grissom/DeShields (jaymc), Friday, 16 October 2009 22:46 (ten years ago) link

I can't overemphasize: Watch in one sitting. (Maybe one bathroom break.)

Your Favorite Saturday Night Thing (Dr Morbius), Friday, 16 October 2009 22:56 (ten years ago) link

i never entered that meatloaf contest :(

banned, on the run (s1ocki), Friday, 16 October 2009 23:03 (ten years ago) link

booooooooooo

Your Favorite Saturday Night Thing (Dr Morbius), Friday, 16 October 2009 23:04 (ten years ago) link

Between the Kurosawa box and this Ackerman series, Criterion will sufficiently keep me indoors even more this winter.

The Perfect Weapon 2, Saturday, 17 October 2009 15:22 (ten years ago) link

Akerman.

The Perfect Weapon 2, Saturday, 17 October 2009 15:24 (ten years ago) link

AKERMAN!!!

banned, on the run (s1ocki), Saturday, 17 October 2009 22:42 (ten years ago) link

two months pass...

anyone ever see toute une nuit? seems kind of hard to.

high-five machine (schlump), Friday, 8 January 2010 21:24 (nine years ago) link

yeah one of my faves but as I said above, I doubt I'd eve manage to watch it again.

I realize I now live literally next door to 23 quai du commerce, Brussels.

spiny doughboy (baaderonixx), Saturday, 9 January 2010 00:17 (nine years ago) link

schlump, i webmailed you.

jed_, Saturday, 9 January 2010 00:27 (nine years ago) link

well thanks jed but no, i'm not interested in doing that kind of modelling for you.

if you have an further offers?, you could shoot me a mail at corkysdebt at hotmail dot com :D

high-five machine (schlump), Saturday, 9 January 2010 02:33 (nine years ago) link

two years pass...

"news from home" is really good.

tanuki, Monday, 16 January 2012 04:05 (seven years ago) link

six months pass...

new one showing in NYC this week

http://www.fandor.com/blog/daily-chantal-akermans-almayers-folly

Pangborn to be Wilde (Dr Morbius), Monday, 13 August 2012 20:08 (seven years ago) link

w/director in person iirc

, Blogger (schlump), Monday, 13 August 2012 20:28 (seven years ago) link

i feel like there are five CA docs that have come out as plain-looking dvds in the past lil while; i always see them positively reviewed & advertised in filmcomment, has anybody seen any?

, Blogger (schlump), Monday, 13 August 2012 20:29 (seven years ago) link

Three years too late, I know, but that circle dance scene described above is from Portrait of a Young Girl at the End of the 60s in Brussels.

Cherish, Monday, 13 August 2012 20:41 (seven years ago) link

just saw her do Q&A for Almayer's Folly, which was sometimes hypnotic and, partic the last scene, left me a bit cold. She answered one question by saying "'Why' doesn't matter."

Pangborn to be Wilde (Dr Morbius), Friday, 17 August 2012 04:18 (seven years ago) link

one year passes...

Been to the last two screenings of the Chantal Akerman season and going again tonight.

Didn't know this but she is going to be there!

http://www.ica.org.uk/whats-on/nos-amours-chantal-akerman-9-un-jour-pina-demand%C3%A9-l%E2%80%99homme-%C3%A0-la-valise

xyzzzz__, Thursday, 22 May 2014 13:35 (five years ago) link

Akerman gave a brief intro to the films but in between came back for a Q&A which didn't seem pre-planned (the ICA had to get a microphone ready). She was moved by the applause at the beginning an like to think she wanted to give sometime for people to ask anything. It sorta started as a talk on what Pina Bausch was like and how the doc was made, then went into "well I am not going to be here after my next film is shown as I want to sleep so if you'd like to ask anything then its now or never...you don't have to, sometimes its better not to say anything"

There were three questions but they were basically interrupted (good on the first one which was just a v dry question about where does performance start and end that you could never pin her down to -- too much of an attempt to reveal a method -- its interesting that the question's phrasing may sound as precise as her images but they miss all the colour and sense of humour present that are such a big part of her films...for the most part) as she started giving a riff on a theme about half-way through, because her English is at 70% they were kinda half-replies half-rants that would go to funny places. When she talked about how she needed to do different things after Jeanne Dielman it was all "I could've stopped...but not like Rimbaud where I could've been a drug dealer, or sell slaves" (!)

I loved how she talked about Pina -- Akerman was very honest and open at how the beauty she first saw in her choreography turned to anger as she gradually uncovered the sadistic side, involving sinister manipulation of the people in her company -- its something you see on Wenders' film through interviews but here its shown via a series of rehearsals for scenes flowing through performances on stage (she aimed to edit her film like a piece by Pina, and it certainly gives that feel of attending to contemporary dance). She compared Pina to Celine (who I happen to be reading!) and how the work -- the end result -- is what matters. But those questions are never really resolved?

xyzzzz__, Thursday, 22 May 2014 23:18 (five years ago) link

Three years too late, I know, but that circle dance scene described above is from Portrait of a Young Girl at the End of the 60s in Brussels.

― Cherish, Monday, August 13, 2012 3:41 PM (1 year ago) Bookmark Flag Post Permalink

Almost two years too late on me, but THANK YOU!

Damnit Janet Weiss & The Riot Grrriel (C. Grisso/McCain), Thursday, 22 May 2014 23:24 (five years ago) link

Lots of Chantal on Mubi right now.

Zing Ad Hoc (James Redd and the Blecchs), Friday, 29 July 2016 00:07 (three years ago) link

Watched South and No Home Movies. Both worth it.

Gukbe, Friday, 29 July 2016 06:22 (three years ago) link

not Mubi in the UK, which have put up 80% US movies in the last month

StillAdvance, Friday, 29 July 2016 12:31 (three years ago) link

activated a Mubi account just for Akerman.

The burrito of ennui (Alfred, Lord Sotosyn), Friday, 29 July 2016 12:52 (three years ago) link

I did too; I haven't watched the other documentaries yet, but the hushed intensity of South is remarkable, especially the terrible concluding moving shot along the road in Jasper where James Byrd was killed.

one way street, Friday, 29 July 2016 14:18 (three years ago) link

yeah sud is excellent, huh. retro rly just hammered home how across the grid she was

schlump, Friday, 29 July 2016 17:28 (three years ago) link

Loved how No Home Movie incorporated her recent gallery work into a diary of her relationship with her mother (whereas East seemed to like a film converted to a gallery piece with a similar subject).

So mad that she is gone.

xyzzzz__, Friday, 29 July 2016 17:39 (three years ago) link

Great piece on the sounds in Akerman's last film, written by Frances Morgan:

The first things

The first thing you hear in No Home Movie is the sound of wind blowing through a tree and across a valley. The first thing you hear in No Home Movie is wind distorting the sound of wind. The first thing you hear in No Home Movie is wind distorting the sound picked up by the microphone. The first thing you hear is the microphone, which is part of a camera. The first thing you hear is the camera.

The first thing you hear in No Home Movie is the impact of wind on a hand-held camera. But is it on the camera, or in, or both: “it may also be possible for wind to leak through holes cut for switches and generate noise inside the body too,” an instructional PDF downloaded from the Microphone Data website warns the recordist. The first thing you hear is the hand holding the camera. The first thing you hear is the body.

The Microphone Data info sheet says, “Air is a much more turbulent and knotty fluid than we usually imagine it to be.”

In these exterior sequences of the film, the air is tied in knots: intransigent clumps made up of a low ragged thudding sound that is round but doesn’t bounce. A knotted fluid, an impossible hybrid element, an impossibility, an impasse. Through or behind or above this sound, the rattle of the tree’s few papery leaves can be heard.

(“Attach strips of paper to the air vents. At night it sounds like the rustling of leaves,” Dr Snaut advises Kelvin in Solaris. In the controlled atmosphere of the space station the paper strips flapping in the artificial breeze are an aural reminder of Earth; close enough to the real thing to help you sleep.)

Manhola Dargis, reviewing No Home Movie, describes the opening sequence. She notes that it is long enough that the viewer has to take in all the features of what looks like a featureless space: the distant road, the blank sky, a telephone wire. “Mostly, though, there is this resolute, trembling tree perched on what looks like an abyss. How, you wonder, does it survive?”

“On my mother’s side, few had survived,” says Chantal Akerman in the trailer for I Don’t Belong Here: The Cinema of Chantal Akerman. No Home Movie was Akerman’s last film. It was premiered just a month before her death in October 2015. It is a film about her mother, Natalia, who was born in Poland and escaped to Belgium at the start of the Second World War. She was deported back to Poland and sent to Auschwitz, where both her parents died. After the war she returned to Brussels, where Chantal Akerman was born in 1950. Natalia died shortly after No Home Movie was finished, in April 2014. Survival is a central fact of No Home Movie. What is the character of this survival? It is hard to read, hard to hear. It has to be. It has its own complex system of knots and turbulence, interference and static. Sometimes I think it takes sonic form in these blocks of noise that any device would struggle to record clearly, not just the handheld cameras and Blackberries that Akerman uses throughout the film.

To reduce the possibility of wind sounds, the Microphone Data info sheet says, you can place a fine mesh between the mic and the sound source you wish to record. There are many professional and DIY ways in which you can do this but on YouTube my searches for ‘reduce wind noise’ frequently bring up hacks for GoPro users who want to show how fast they are going without obscuring the sound of the engine of whatever it is they are going fast on. Put half a washing-up sponge in the GoPro casing so when you record yourself on your motorbike it sounds so much better. Put a sock on the sponge. Now you can even hear me talking. I like the GoPro tutorial makers. They are not audiophiles. They are more excited about speed and being outside and how half a sponge can take the slap of the air on the camera down to a rumble.

I’ve called these ‘exterior’ sequences, the parts of No Home Movie that show the outside. This is mainly to distinguish them from the majority of the film, which shows the inside of Natalia Akerman’s flat in Brussels; you see some other interiors, of hotel rooms that Chantal is staying in, but not in any detail. The hotel rooms are spaces that contain another interior, that of the laptop and Skype window in which Chantal and her mother talk to one another, in which we see Natalia’s flat again, but now on another screen in a room far away from it. In the so-called exterior sequences the relationship between inside and outside is also layered and mediated. Much of the outside is seen from an inside, shot from a moving car through a window. If this is not obvious from the speed of the camera, it’s also clear from the sounds it picks up of tires on ground, engine, wind, and an insistent small plasticky tapping that suggests something knocking against the window or door when the car hits uneven patches of road. A mistake-sound among mistake-sounds. From the window dune-like hills blur and bump past. Some concrete buildings and a section of long black plastic pipe curving up and over a hill like a snake so long its head and tail can’t be seen.

I read afterwards that Akerman shot this footage in Israel. I wondered why I had not thought about this while watching the film, but instead had placed these moon-like landscapes somewhere simply ‘unknown’. No, I didn’t wonder, I don’t wonder, because it is obvious, and not just because I have seen only a fraction of Akerman’s huge body of work and have not read enough about her life. It is easy and seductive to think about The Desert as a metaphor rather than a real space, and to abstract a bleak and awe-inspiring terrain into something literally unearthly, by comparing it to a satellite or even another planet. It’s easy to empty a space of people and history in order to fetishize its emptiness. It’s so easy and so seductive that I find myself trying to do this even when I am forcefully deterred from doing so by all the sonic reminders of the presence of the filmmaker – the recordist – and her own refusal of or inability to be subsumed into this landscape.

There is nothing peaceful about these empty spaces. There is nothing empty about them. Is there ever an empty space, and if there was, could it ever be recorded? It is never empty of the recordist and their recording device. One of the cliches about travelling is that you can’t escape yourself, however far you go to get away from problems or heartbreak or whatever. That ‘you’ will always be there, waiting for yourself in whichever wilderness you get to. I can never work out whether it means you should stay at home until you feel better, or just not expect too much from the wilderness, but it is clear the warning is made with the assumption that the person is travelling by choice and that they have a home to return to, and Akerman’s furious, blunted travelogues are disturbing most of all because no such assumption underlies them. There is a home – the mother’s house – and a choice – to make this film, to travel to make it – but such concepts are shaken and bruised, buffeted, knocked around in the passenger seat, blown sideways.

(In an article called ‘Femme Vérité’, Michelle Orange writes, “Throughout her work, Akerman enacts a formal reckoning with an inexorable problem having to do with time, space, and distance—which is to say a problem of home.”)

In the space of the cinema where I watch No Home Movie the extraneous artefacts of time-based recording technology are magnified, visually and sonically, and they call attention to other kinds of extraneity – other things that get in the way of communication or recording or representation, or that are supposed to be invisible or inaudible. But when Akerman forefronts these artefacts, especially those that sound, I think she goes beyond the aims of cinema vérité, at least as I understand them. Those artefacts – the distortion, glitch, interference, light bleed and so on – are not left in to make the film more truthful exactly. They are part of a wider consideration of how intimacy is both transmitted and frustrated by technology. How technology not only enables but creates intimacy.

No Home Movie includes a number of Skype conversations between Chantal and Natalia in which technical and operational glitches happen and long goodbyes leave uneven edges. The Skype call, with its drop-outs and time-lags and weird overdriven bursts of noise, equates neatly with the characterization of digital media as atomizing and alienating, the implication being that these unnatural communications, mediated through screens that flatten affect, are not only inferior but detrimental to ‘real’ relationships. In these fluid, often passionate conversations between mother and daughter, Akerman shows that connection can be made not despite but because of or even through glitch, and that the screen is a fine mesh that in fact clarifies, sharpens rather than obscures emotion.

(On the afternoon I watch the film, between working and caring for my mother, who was born just a decade after Natalia, the cinema screen creates another mesh between me and my thoughts, making audible that which I find hard to hear. Later that day I tell my mother about some aspects of the film (Natalia’s flat) and not others (Chantal’s suicide). Afterwards it occurs to me that it has created another mesh, one through which we can talk about some of our fears and avoid others.)

The more formal discussions that Akerman films at Natalia’s kitchen table flow less easily. This is because they are about the past, a past which Natalia will speak of only sparingly. The interference here isn’t something hitting the mic or the wifi cutting out but it feels akin to that. Something too loud, or too absent, or an absence too loud to be voiced, has broken the conversation. Sometimes the wind brings sound with it; mostly, though, it blocks it. Akerman stays with the block, films the block, sounds out the block.

Here is one. “I don’t want everyone to hear the things I want to say to you”, says Natalia during one of the Skypes. As if the viewer – the everyone – will hear not just the things that are said but the things that are not said but desired to be said. As if the things that are said aren’t exactly the things she wants to say.

Chantal, in I Don’t Belong Anywhere, on her mother’s story. “I thought for a while I was speaking on her behalf, and then sometimes I’d think I was speaking against her.”

(Distortion mingles and confuses signal and noise, intention and action, sound and air, machine and body.)

“The draught across the cold stone floor of a quiet church may produce more serious ‘wind noise’ than the gentle breeze outside.” Microphone Data, again.

Air is unpredictable. In Chris Marker’s One Day in the Life of Andrey Arsenevich the narrator talks about the presence of the elements in Tarkovsky’s films, in particular how fire and water are brought together at key moments. On the one hand, Marker draws your attention to the heavy symbolism and significance of the elements: they appear not just because they are photogenic – they are there “as a last resort, the answer to a prayer”. On the other, he seems to imply, they challenge the idea of such significance, appearing to manifest beyond cause and effect. And it’s here where he talks about wind and air:

“As [Tarkovsky’s] oeuvre advances, it throws off the ballast of pretext and excuses. Even the director steps free of his own pretext. The whirlwind of grass at the outset of Mirror serves to avoid a cliché, that of a man looking back at the woman he had just met. Something unusual had to happen. In Stalker it’s the fiction of the Zone that makes the grass move. There’s nothing to be explained: it’s autonomous.”

In fact these are not two opposing interpretations, but different ways of saying the same thing. A prayer, a last resort, something unusual, nothing to be explained: in this view, there is life and meaning in every image or action, even in phenomena that can’t be explained. (Marker does not mention the fake wind in the fake trees of Solaris.) In Marker’s loving portrait of an animistic cinema, these elemental last resorts precede redemption.

In No Home Movie the last resort is the wind on the mic. The last resort is the muffled, curtailed roar of the cheap mic shaking in its casing. The last resort is the hand holding the camera. The last resort is the body. It has to stop somewhere.

(In Akerman’s 1980 film, Tell Me, in which she interviews a group of elderly Jewish women, like her mother survivors of the Holocaust, one of her subjects interrupts the story she is telling. “I have so much to tell you, we could stay eight days and not finish all of it.”)


Within sound by Frances Morgan

xyzzzz__, Sunday, 7 August 2016 10:23 (three years ago) link

Finally watching that now. Will read afterwards.

Also, found this paper about Athina Tsangari which contains a discussion of the Akerman influence:
http://filmiconjournal.com/journal/article/2014/2/4

The Rest Is A Cellarful of Noise (James Redd and the Blecchs), Sunday, 7 August 2016 15:29 (three years ago) link

Which uses the interesting word "planimetric," which Bordwell describes here, http://www.davidbordwell.net/blog/2007/01/16/shot-consciousness/, although he doesn't mention Akerman.

The Rest Is A Cellarful of Noise (James Redd and the Blecchs), Sunday, 7 August 2016 22:39 (three years ago) link

one year passes...

her criterion eclipse boxset is finally back in stock at their store & amazon (cheaper on criterion)

flappy bird, Thursday, 7 December 2017 19:04 (one year ago) link

No Home Movie is on the Film4 site for a week (think its UK only):

http://www.channel4.com/programmes/no-home-movie

xyzzzz__, Thursday, 7 December 2017 21:14 (one year ago) link

three weeks pass...

the final shot in News from Home

flappy bird, Sunday, 31 December 2017 05:21 (one year ago) link

Yeah.

Cherish, Sunday, 31 December 2017 16:12 (one year ago) link

Floored me. I can’t wait to watch the rest of her Eclipse set, and to see Jeanne Dielman for the first time in a theater in March (!!)

flappy bird, Sunday, 31 December 2017 17:16 (one year ago) link

two months pass...

"When people ask me if I am a feminist film maker, I reply I am a woman and I also make films." The great Chantal Akerman, seen here in her debut feature, JE TU IL ELLE (1975) #IWD2018 pic.twitter.com/GZDqPbHoJJ

— Criterion Collection (@Criterion) March 8, 2018

flappy bird, Thursday, 8 March 2018 18:32 (one year ago) link

two months pass...

💔

flappy bird, Tuesday, 15 May 2018 15:00 (one year ago) link

Oh wow didn’t realize that was for her

licorice oratorio (baaderonixx), Tuesday, 15 May 2018 19:41 (one year ago) link

one month passes...

Got this collection of 4 documentaries, which are the best? I'm keen on checking out Down There first since it seems like a continuation of News from Home.

flappy bird, Friday, 29 June 2018 17:43 (one year ago) link

ftr the films are:

From the East
From the Other Side
South
Down There

flappy bird, Friday, 29 June 2018 17:44 (one year ago) link

From the East was solid.

morning wood truancy (Alfred, Lord Sotosyn), Friday, 29 June 2018 17:50 (one year ago) link

thanks Alfred, I loved it. Remarkable film.

lol:

@labuzamovies
D'EST (Akerman, 93) As someone who has waited for many buses, I feel this.

― we can be heroes just for about 3.6 seconds (Dr Morbius), Monday, April 18, 2016 10:35 AM (two years ago) Bookmark Flag Post Permalink

flappy bird, Sunday, 1 July 2018 06:26 (one year ago) link

three weeks pass...

lol Jeanne Dielman's son looks exactly like Michael Cera

flappy bird, Wednesday, 25 July 2018 05:12 (one year ago) link

Now funnily enough Matmos dedicated a piece to her tonight at their show.

Ned Raggett, Wednesday, 25 July 2018 05:18 (one year ago) link

! small world

flappy bird, Wednesday, 25 July 2018 05:23 (one year ago) link

three months pass...

Les Rendezvous d'Anna has a Janus page now, looks like there's a new restoration. would love to see this one in theaters http://www.janusfilms.com/films/1323

flappy bird, Wednesday, 14 November 2018 18:03 (eleven months ago) link

one month passes...

My Mother Laughs by Chantal Akerman, translated from French by Daniella Shreir. Silver Press, June 2019. Country of origin: Belgium

xyzzzz__, Wednesday, 19 December 2018 11:14 (ten months ago) link

great news!

flappy bird, Thursday, 20 December 2018 19:13 (ten months ago) link

two weeks pass...

has this been shared before? really nice piece on the final shot in News From Home: http://reverseshot.org/features/2105/news_from_home

http://reverseshot.org/images/uploads/news2.jpg

flappy bird, Sunday, 6 January 2019 05:29 (nine months ago) link

Thanks!

xyzzzz__, Sunday, 6 January 2019 17:34 (nine months ago) link

three weeks pass...

on this week’s episode of triple d we’ve taken a road trip to scenic brussels where we visit a mother whose home cooking is the real deal. seriously, wait till you see this meatloaf. some come on & roll on out with me, guy fieri, on another diners, drive-ins & dives pic.twitter.com/uI0OZOK4Lq

— Nick Usen (@nickusen) January 27, 2019

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Tuesday, 29 January 2019 16:19 (eight months ago) link

oh my GOD

vision joanna newsom (Stevie D(eux)), Thursday, 31 January 2019 21:42 (eight months ago) link

one month passes...

Je Tu Il Elle seems like one of the great first feature films by any director that I’ve seen, but is more difficult than most. It’s completely free-form and mysterious in a way that even Jeanne Dielman isn’t. Akerman wants to show you the external manifestation of something that is happening internally with the main character, but also avoids any kind of interpretation.

Dan S, Friday, 1 March 2019 02:06 (seven months ago) link

you have to bring a lot o your own experience and feelings into the events here to come up with any personal sense of what the film is about, it requires a big feat of projection

Dan S, Friday, 1 March 2019 02:30 (seven months ago) link

seemed like three distinct parts: the isolation in the room at the beginning, the experience with the truck driver, and the relationship with the other woman at the end

Dan S, Friday, 1 March 2019 03:33 (seven months ago) link

I see that one as Chantal quite not relaxing into her mode just yet. Only lasted a while before she masters everything.

xyzzzz__, Friday, 1 March 2019 18:00 (seven months ago) link

two weeks pass...

loved News From Home

all those subway scenes and shots of wide 70s cars on 10th Avenue and cross streets looking out on the Hudson River

Dan S, Saturday, 16 March 2019 01:34 (seven months ago) link

wasn’t sure what to make of Hotel Monterey, although I did like that the camera started moving halfway.through

Dan S, Saturday, 16 March 2019 01:50 (seven months ago) link

I wish she got sound for that one. Anything.

flappy bird, Saturday, 16 March 2019 04:14 (seven months ago) link

the silence of that film made it feel very experimental but it was also hypnotic.

Dan S, Saturday, 16 March 2019 04:33 (seven months ago) link

Unless my scan of the thread lied, it appears I never linked the memorial piece my genius friend Kate wrote for Cinema Scope shortly after Akerman's passing.

http://cinema-scope.com/columns/deaths-of-cinema/

Simon H., Saturday, 16 March 2019 04:46 (seven months ago) link

really great, thanks

Dan S, Saturday, 16 March 2019 04:58 (seven months ago) link

Hotel Monterey has no story, it’s just a black and white film document of a residential hotel in NY in 1973, featuring mostly elderly people, with no sound, starting in the lobby and moving in to the elevator and up to individual rooms (open doors, closed doors) to the roof and its views

Dan S, Saturday, 16 March 2019 05:23 (seven months ago) link

also lots of shots of fluorescent-lit corridors.

Dan S, Saturday, 16 March 2019 05:37 (seven months ago) link

I once synced Hotel Monterey with Eno’s Discreet Music and it was just about perfect.

vmajestic, Saturday, 16 March 2019 14:19 (seven months ago) link

two weeks pass...

I loved Les rendez-vous d'Anna

Dan S, Tuesday, 2 April 2019 23:47 (six months ago) link

so many of the shots in it had the subject in the middle of the frame, with the sides of the frame mirroring each other. it felt like it really matched the anonymity and dissatisfaction of the narrative

Dan S, Tuesday, 2 April 2019 23:49 (six months ago) link

have been watching her films over again and there haven't been any that seem like a throwaway

Dan S, Wednesday, 3 April 2019 00:33 (six months ago) link

six months pass...

Finally found this screenshot of Chantal akerman on Facebook pic.twitter.com/8uyDF7rsT3

— alexander iadarola (@aliadarola) October 9, 2019

flappy bird, Wednesday, 9 October 2019 17:30 (one week ago) link


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