Directed by Chantal Akerman • 1975 • Belgium Directed by and starring Chantal Akerman, this short film was made when she was just eighteen. Directed by Chantal Akerman • 2000 • Belgium, France Chantal Ackerman made a shopping mall musical in the mid 80s where everyone is pretty sad and nobody gets what they want. Chantal Akerman (*1950 in Brussels, † 2015 in Paris) was a filmmaker, writer, and artist. So, you know, what you'd expect from a Chantal Ackerman romantic musical set in a shopping mall. She has conceived of cross-genre performances such as From the East in Music, incorporating footage from Chantal Akerman’s film D’Est, and projects with Charlotte Rampling and Fanny Ardant. Letters from Chantal Akerman's mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. The Paris based Belgian director Chantal Ackerman tries something a trifle wide of her customary metier with what one might suppose is an attempt at a pastiche of Hollywood musicals. Melding live music with Chantal Akerman’s written words and her short film “ Blow Up My City ” (“ Saute ma ville “), cellist Sonia Wieder-Atherton creates a touching … Beta SP, French with English subtitles, 3.40 min., West Coast premiere A VOICE IN THE DESERT The film explores themes such as consumerism, feminism, and Jewish identity through the lens of a shopping mall. Films include Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, News From Home, and Je, tu, il, elle. The exuberant enchantments of the singing, dancing musical meet the feminist, formalist sensibility of cinematic visionary Chantal Akerman in this uniquely captivating vision of love and survival in the age of late capitalism. Chantal Akerman's 1968 short film Saute ma ville directly reflects our current state, serving as a meditative text on the art of staying home. One of the boldest cinematic visionaries of the past half century, Chantal Akerman—who would have turned seventy this June—took a profoundly personal, aesthetically radical approach to the form, using it to investigate geography and identity, space and time, sexuality and alienation. Starring Delphine Seyrig, Fanny Cottençon, Pascale Salkin. These questions arose last month when we published a video essay from Kevin B. Lee, chief video essayist at Fandor, about the spaces in Chantal Akerman’s final documentary, No Home Movie. In one of Akerman's most penetrating character studies, Anna, an accomplished filmmaker (played by Aurore Clément), makes her way through a series of European cities to promote her latest movie. Directed by Chantal Akerman • 1989 • Belgium, France Amid the consumerist wonderland of a shopping mall, a cadre of store employees bounce in and out of one another’s arms in a cycle of breakups, makeups, misunderstandings, and reunions, their romantic roundelay punctuated by imaginatively stylized production numbers. A ghostlike companion piece to Akerman's more straightforward (although still vaguely eerie) musical Golden Eighties, deconstructing the latter film's narrative and songs into a series of isolated vignettes that gradually build to full-scale numbers. Directed by Chantal Akerman • 1986 • Belgium, France Initially, Lee edited the video to music. In the newest film (whose title echoes the uprooting and devastation caused by the Holocaust) Chantal Akerman tries to address the subject head-on, … In 2014, she released Little Girl Blue, a recording conceived like a letter to Nina Simone. Directed by Chantal Akerman • 1975 • France. Directed by Chantal Akerman • 1978 • France. Directed by Chantal Akerman • 1986 • Belgium, France Starring Delphine Seyrig, Fanny Cottençon, Pascale Salkin. From Wikipedia, the free encyclopedia Golden Eighties, also known as Window Shopping, is a 1986 Belgian musical film directed by Chantal Akerman. Chantal Akerman was born on June 6, 1950 in Brussels, Belgium as Chantal Anne Akerman. Directed by Chantal Akerman • 1976 • United States. Classics and discoveries from around the world, thematically programmed with special features, on a streaming service brought to you by the Criterion Collection. For a French television series about grandmothers, Chantal Akerman interviews elderly women who survived the Shoah, including her own mother, whose experience in the Holocaust reverberated throughout the artist’s life and work. Born in 1950, Akerman was famously close to her mother, Natalia, who survived the Holocaust. Directed by Chantal Akerman • 1968 • Belgium. She is best known for Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), which The New York Times called a "masterpiece". Chantal Akerman at the 2015 Venice Film Festival AP Photo/Jonathan Short. Influenced by the structuralist cinema she was exposed to when she came to New York from her native Belgium in 1970, Akerman made her mark in the decade that followed, exploring the possibilities of long takes and formal repetition in works like the architectural meditation HOTEL MONTEREY, the obsessive portrait of estrangement JE TU IL ELLE, the autobiographical New York elegy NEWS FROM HOME, and the austere antiromance LES RENDEZ-VOUS D’ANNA. The film was Chantal Akerman’s 1977 drama News from Home. The description of it as a “drama” is imperfect; in fact, nothing happens at all, there is no narrative, no journey or catharsis. Chantal Akerman By Chantal Akerman Director, Editor, Screenwriter, Producer . In her provocative first feature, Chantal Akerman stars as an aimless young woman who leaves self-imposed isolation to embark on a road trip that leads to lonely love affairs with a male truck driver and a former girlfriend. Starring George Bartenieff, Judith Malina, Eszter Balint. The songs sung or hummed in Akerman’s films have been understood as musical clichés that align with Akerman’s structural interest in repetition, reiteration, and variations on recurring themes. Under Chantal Akerman's watchful eye, a cheap Manhattan hotel glows with mystery and unexpected beauty, its corridors, elevators, rooms, windows, and occasional occupants framed like Edward Hopper tableaux. Her towering achievement, however, remains JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES, a domestic epic that has exerted an incalculable influence on the evolution of both feminist and avant-garde cinema. She was married to Sonia Wieder-Atherton. She made her first short film, Saute ma ville (Blow Up My Town, 1968), when she was just 18. Chantal Akerman invites viewers to visit this unusual place as well as the people who live there, from the reception up to the last story. 18 Humming and songs also issue directly from a background of musical traditions in Jewish culture and liturgy, where voice and vocalizing play prominent roles. Starring Delphine Seyrig, Jan Decorte. Chantal Akerman explores Jewish American identity in this multilayered portrait of the immigrant experience. Starring Sylvie Testud, Stanislas Merhar, Olivia Bonamy. Chantal Anne Akerman was a Belgian film director, screenwriter, artist, and film professor at the City College of New York. In light of her apparent suicide, Bean recalls Akerman’s genius and her legacy. For thirty years, filmmaker Henry Bean and his wife were friends with the filmmaker Chantal Akerman. Her first feature, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), established her reputation as a radical, feminist filmmaker. In Chantal Akerman's early short film LA CHAMBRE, we see the furniture and clutter of one small apartment room become the subject of a moving still life, with Akerman herself staring back at us. Chantal Akerman’s The Eighties proves that a musical set in a mall can be a significant feminist work. Working with frequent star Delphine Seyrig and a remarkable team of writers—who between them penned everything from JULES AND JIM to DESPERATELY SEEKING SUSAN—Akerman deftly balances the shiny pop pleasures of the genre with piercing variations on her signature themes, including a startlingly moving reflection on Jewish resilience and the legacy of the Holocaust. She died on October 5, … – Chantal Akerman. According to film scholar Gwendolyn Audrey Foster, Akerman's influence on feminist and avant-garde cinema is substantial. Chantal Akerman was one of the most important filmmakers of the late-20th century, whose films have had a profound impact on feminist discourse within the cinema, and within avant-garde film and video art at an international level. Belgian director Chantal Akerman (1950–2015) forged a new cinematic language by wedding an uncompromising formal rigor with a profound depth of feeling. 1996 : 6 (0) Portrait d'une jeune fille de la fin des annees 60 a Bruxelles Director, Screenwriter . Directed by Chantal Akerman • 1972 • United States. Much later, down a dark warren of echoing spaces, dead ends and blind corners, we find Akerman herself, … Directed by Chantal Akerman • 1980 • France. Chantal Akerman, Director: Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles. Acted in News From Home, Je, tu, il, elle, and La chambre In an extraordinary oeuvre that encompassed travelogues, documentaries, literary adaptations, musicals, and at least one landmark of film history, Akerman explored alienation, female subjectivity, landscapes both physical and … Film scholar Gwendolyn Audrey Foster [1] considers her “one of the most important filmmakers of the late-20th century, whose films have had a profound impact on feminist discourse within the cinema, and within avant-garde film and video art at an international level.” Although increasingly celebrated over the years, the film was still not easy to … She was a director and writer, known for Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975), Je Tu Il Elle (1974) and The Meetings of Anna (1978). Film profile for Chantal Akerman, Director and actor, born 6 June 1950. A scene from Chantal Akerman’s In the Mirror. In later works like the singular musical GOLDEN EIGHTIES and the spellbinding Proust adaptation LA CAPTIVE, Akerman continued to expand the boundaries of cinematic language, leaving behind monumental landmarks that have pointed the way for a generation of artists who have followed in her footsteps. Chantal Akerman (screenplay, voice over), Sonia Wieder-Atherton (music) and Catherine Deneuve (actor) team up to mourn the murder of Salvadorean union activist Febe Elisabeth Velásquez in this short piece produced for Amnesty International. Directed by Chantal Akerman One of the boldest cinematic visionaries of the past half century, Chantal Akerman—who would have turned seventy this June—took a profoundly personal, aesthetically radical approach to the form, using it to investigate geography and identity, space and … Rhythm, rhyme, and chanting are protections … Directed by Chantal Akerman • 1972 • Belgium. 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