We pay tribute to the late filmmaker with a selection of her most autobiographical works, which combine formal rigor with empathy and insight.
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Je, tu, il, elle
Les rendez-vous d’Anna
No Home Movie
Akerman’s semi-autobiographical work depicts the travels of a filmmaker on tour in Europe with a new film, and brings up an entire history of migrations and social changes in Europe.
The repetitive domestic routines of a bourgeois widow become a source of visceral suspense in Akerman’s landmark of feminist filmmaking.
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Akerman’s brilliantly funny comedy of manners could be the cinema’s most eloquent evocation of Sartre’s observation, “Hell is other people.” With Akerman’s self-portrait in film clips, Chantal Akerman by Chantal Akerman.
New York City, imposing and anonymous, serves as the visual counterpoint to Akerman’s reading of her own mother’s letters in this personal, gorgeously photographed film. With short La chambre.
In her first feature, Akerman plunges into the themes—desire, longing, intimacy, and estrangement—that she would continue to plumb throughout her career. With Akerman’s debut short, Saute ma ville.
Akerman’s ultra-personal final work reflects on history, distance, memory, and intimacy, and reaffirms her inextricable relationship with her mother, a Holocaust survivor.