Chantal Akerman, the most important experimental filmmaker of our country, is at the age of 65 died. In the 70s she made influential films like ‘Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles’ and ‘Je, tu, il, elle’.
Chantal Akerman is more than likely the Belgian director with the most entries in international cinema and in the seventies she was one of the key figures of the European avant-garde and feminist cinema. Admittedly, that was forty years ago. Apparently she has to early peak.
The Brussels born and raised, Akerman was barely 25 when she in 1975, a key work of modern cinema: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. In that movie of three hours and twenty minutes shows them through long, impassive frontal pictures of what we then still had never seen – or at least not in the cinema.
In an apartment in Brussels is peeling a housewife (Delphine Do) potatoes. Beating egg yolks with a fork. Waiting for a seat to his son (a young Jan Decorte) comes home so that there can be eaten. Then she clears. The dishes do. The shoes of her son brushing. Every day the same mechanical ballet of the mundane. The woman is not only mother, cook, maid and cleaning lady is also a prostitute. To the same extreme routine as the preparation of the beds belongs to the receiving of men. An unexpected orgasm disrupts everything, especially because they have a pair of scissors in the man plant.
Jeanne Dielman stores like a bomb. The one on the other day is Akerman to the important authors included. No gender studies about feminism and cinema or she is covered. There will still post to the address from the title, even though it is not: the handelskaai is located in 1000 Brussels.
Also directors like its film inspiration, and not the least. “As a child I observed my mother in the kitchen for hours at a stretch’, did Gus Van Sant again. ‘And suddenly there is a director on the basis of such an experience communicates, the banality directly view and you are breathless to leave.’ In 2003, he turned with Elephant by the way also a masterful recording of the daily life for a catastrophe, and he received the Golden Palm for.
Akerman has no movie more made the same impact as Jeanne Dielman, but that does not mean she is uitverteld. At a point of intersection between the American experimental cinema and the European auteurstraditie she has a body of work developed that may never be a mass people on the leg, but still commands respect. It is diverse, wars of pathos and formally rigorous, but much less hermetic and dry than typically is assumed.
A few examples? Les Rendez-Vous d’anna (1978) takes the pulse of Western Europe and is at the same time, a narcissistic meditation on a film director, with her film travel. In Toute une nuit (1982) may, Aurore Clément, Frank Aendenboom, Jan Decleir, Chris Lomme during a warm summer night in Brussels, the sleep does not grasp and they dive hitsig the night. Golden Eighties (1986), is a ‘winkelcentrummusical’, A Couch in New York (1996), a philosophical comedy – and a failed attempt to with William Hurt and Juliette Binoche reaching a large target audience. In 2000, threw them with scriptwriter Eric De Kuyper is still on the filming of La Prisonniere by Marcel Proust, all concentrated since the mid-nineties on by movie-inspired installation art.
We would be the bruises not want to take care of all the people a film by Chantal Akerman the walls on walked. The director of this film more than once much discussed, and may – akerdju! – also here to talk about it.
Niels Ruëll (from Knack Focus of February 29, 2012)
With the release of a documentary about her work, and her new feature length film, No Home Movie looks Cinematek is still to 30/11 back on the work of Chantal Akerman in the Brussels Flagey (brussels).