• The Meetings of Anna

    The Meetings of Anna

    Avalyn Wu

    ★★★★★

    An updated, glossier version of Je Tu Il Elle. Western Europe is a cold and desolate terrain for nomads to wander, defined by the lateral movement of people walking, trains passing, doors sliding and the camera itself tracking. Anna serves as the traveling witness to all of these frustrated, desperate people, but she cannot give them the stability and assurance they want. The teleology here is even more broken and harder to ascertain. Akerman has no pretenses about her powers as a filmmaker.

    Seen on the Criterion Channel

  • Je Tu Il Elle

    Je Tu Il Elle

    Avalyn Wu

    ★★★★★

    The fragmentary simplicity of the film's title matches its observational directness, where both camera and character indulge in the fulfillment of basic physical needs. One could read a trajectory into this, from isolated mania to a social existence of some kind, involving an exploration of both men and women. But it is not so simple. There is no metaphor to be found here. She is calm even though her actions are strange. Her voiceover doesn't always perfectly match her actions…

  • I'm Hungry, I'm Cold

    I'm Hungry, I'm Cold

    Dr. Ethan Lyon

    ★★★★

    14th Chantal Akerman (after A Couch in New York, Golden Eighties, Letters Home, No Home Movie, One Day Pina Asked, D'Est, Night and Day, News from Home; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, Je, Tu, Il, Elle, The Meetings of Anna, The Captive and Hôtel des Acacias)

    Daisies-like dynamism, two young women marching their way around Paris in search of food, money and sex, in that order. My dislike for de Medeiros recedes every time I see something…

  • A Whole Night

    A Whole Night

    Filipe Furtado

    ★★★★★

    Longing through the night as the film light bless you. What Akerman manages here consistently extending the film beauty is among her greatest achievements.

  • Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

    Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

    ScreeningNotes

    ★★★★★

    This review may contain spoilers. I can handle the truth.

    When it finally happens, it almost feels like a betrayal. What about the hierarchy of film images? Had we really found meaning in the mundane monotony of Jeanne's life, or was all of that just build-up to the one true event? But I think the point here is a bit trickier. The point is not to wallop us over the head with these final images that then stand above the rest that came before, the point is that this…

  • Hôtel des Acacias

    Hôtel des Acacias

    Dr. Ethan Lyon

    ★★★★

    13th Chantal Akerman (after A Couch in New York, Golden Eighties, Letters Home, No Home Movie, One Day Pina Asked, D'Est, Night and Day, News from Home; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, Je, Tu, Il, Elle, The Meetings of Anna and The Captive)

    In the rooms, the women come and go/talking of Michelangelo

    Akerman in her whimsical 80s, opening up to love after a decade of fear and chilly distance. What she finds is scary, overwhelming, maddening,…

  • The Captive

    The Captive

    Dr. Ethan Lyon

    ★★★★

    12th Chantal Akerman (after A Couch in New York, Golden Eighties, Letters Home, No Home Movie, One Day Pina Asked, D'Est, Night and Day, News from Home; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, Je, Tu, Il, Elle and The Meetings of Anna)

    Part 15 of February 2024

    The first tailing scene of La Captive is important for two reasons. First is its nods to Hitchcock’s Vertigo, complete with shot/reverse shot of the gazing man and the rear of his…

  • Tell Me

    Tell Me

    Filipe Furtado

    ★★★

    Chantal Akerman made this TV doc after her initial run of major films, and it is very modest in its desire to just sit and listen to some aging Jewish woman and her memories about Jewish life around the time of war. It is very good at just offering them space to register while suggesting some of Akerman's later documentaries, and her mom's presence hangs over everything.

  • The Meetings of Anna

    The Meetings of Anna

    Filipe Furtado

    ★★★★½

    Chantal Akerman’s Beautiful World, Where are you?. More seriously, I love how this manages to balance  the experimental filmmaker now has a budget and the familiarity that comes with it,  with doubling down the sense of alienation of her other 70s movies do so feels less localized and private, but expands to an Europe of disquiet. The entire train section is among the best things she did.

  • News from Home

    News from Home

    Filipe Furtado

    ★★★★½

    To watch others while dealing deeply with yourself. Very few works, not only movies, get so well the experience of going through a large city, the proximity and alienation that come with it. As usual, Akerman very personal exposure of her thoughts a out remaining her mom’s daughter can be very moving and the way she connects it to this large world outside gives it even more force.

  • Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

    Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

    Filipe Furtado

    ★★★★★

    It always impresses me how much Seyrig is always doing something. It is only during the final 50 minutes that Akerman starts to make us self-aware of the moments when she sits down and seems to take stock of her life (paradoxically, our knowledge of where the action is going means this is also when the movie gets even more tense), as if it slowly sets up the final shot. So the movie feels like a constant rush of activities…

  • Je Tu Il Elle

    Je Tu Il Elle

    Filipe Furtado

    ★★★★½

    Moving while emotionally stuck. The dissonances between the careful formal design and the desperation at its center remains one of Akerman’s bigger achievements as is the way each section is distinct while consistent. Tjere is an overwhelming concrete quality to its first person immersion that becomes even stronger with Arestrup sudden appereance.