Chantal Akerman

3/16/04 to 3/30/04

The Captive, March 19, 26

Upcoming
Films
Upcoming
Events
Selected
Objects
Past
Films
Past
Events

Past Films

American Stories
Tuesday, March 16 7:30pm
Inspired by Isaac Bashevis Singer, Akerman and a cast of New York actors spin deadpan tragicomic tales of Jewish immigrants. "The sorrow and beauty throughout her work, with its shining nocturnal moods and glowering compulsive activities, has a lot to do with exalting...the neglected corners of the world around us."-Jonathan Rosenbaum
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The Captive
Friday, March 19 7:00pm
"Inspired by Proust's La Prisonnière, Akerman has created an elegant and soulful meditation on desire, obsession, love, and pain."-Toronto Film Festival
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All Night Long
Friday, March 19 9:10pm
"Akerman, the mistress of minimalism, has made her own midsummer night's sex comedy, with a superabundance of stories and a cast of (almost) thousands....Her most accessible film."-Time Out
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Chantal Akerman by Chantal Akerman
Sunday, March 21 4:00pm
A self-portrait in film clips: "The recycled footage has its own eloquence, deriving from Akerman's use of duration and the moment-to-moment power of the individual shot."-Village Voice
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The Man with the Suitcase
Sunday, March 21 5:30pm
The cinema's most eloquent evocation of Sartre's observation, "Hell is other people." With Moving In.
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Portrait of a Young Girl in the Late Sixties in Brussels: Free Screening!
Sunday, March 21 7:30pm
Free tickets available at the PFA Theater starting at 3 p.m. Related with surprising subtlety and intimacy, Akerman's film is a "lesbian coming-of-age story, probably the most evocative ever made."-Amy Taubin, Village Voice
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The Captive
Friday, March 26 7:00pm
"Inspired by Proust's La Prisonnière, Akerman has created an elegant and soulful meditation on desire, obsession, love, and pain."-Toronto Film Festival
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Night and Day
Friday, March 26 9:10pm
Akerman turns Jules and Jim on its funny little head in this ménage à trois. "An elegant and stylish French comedy that's as subversively funny as its...young lovers. An astonishingly handsome, seriously comic extravaganza."-Variety
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With Sonia Wieder-Atherton
Tuesday, March 30 7:30pm
A beautifully filmed musical portrait of the talented cellist Wieder-Atherton, who has written scores for a number of Akerman's films and who here performs with pianist Imogen Cooper. With A Voice in the Desert, an experimental documentary on a woman lost on the U.S./Mexico border.
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Chantal Akerman

3/16/04 to 3/30/04

“One of the finest filmmakers working anywhere.”
-Jonathan Rosenbaum, Chicago Reader

Chantal Akerman, born in Belgium in 1950, established herself as the grande dame of feminist filmmaking at the young age of twenty-five with her groundbreaking first feature Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). That film confirmed that strong emotional content is made stronger by the distance we are allowed from it. Over the decades Akerman has continued to expand the notion of cinema beyond the limitations of traditional narrative form, exciting viewers (and baffling some critics) by refusing to claim a side-narrative versus nonnarrative, experimental versus commercial, feminist versus humanist-rather, claiming all sides, like a cubist perspective projected over time. Once the “mistress of minimalism,” she has worked with playful, dizzying narrative structures, updated women's melodramas, Demy-like...

“One of the finest filmmakers working anywhere.”
-Jonathan Rosenbaum, Chicago Reader

Judy Bloch

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This series is presented in conjunction with REDCAT (the Roy E. Disney/CalArts Theater at Disney Hall) and UCLA Film and Television Archive. The series is made possible with the support of the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the U.S. Our Thanks to David Pendleton, programmer, and Cheng-Sim Lim, co-head of public programming, UCLA Film and Television Archive; and to Bérénice Reynaud, film historian and curator at REDCAT, without whose generous efforts this series would not have been possible. The series is organized at PFA by Kathy Geritz, film curator. We wish to extend our gratitude to Chantal Akerman; Marilyn Watelet, Paradise Films; Agnès Fierobe, Marian Goodman Gallery; and Steffen Pierce, Harvard Film Archive.