Films byTexts by Chantal Akerman
Chantal Akerman, 1972, 65’

“In the second of her 1972 experiments, Akerman again wanted to draw viewers’ eyes to elements in the frame that they might not otherwise have considered. Similarly focused on architecture and interior spaces, Hotel Mônterey is grander in scope than La chambre.

Chantal Akerman, 1975, 11’

“The problematic relation between a woman’s daily routine and her creative everyday is dramatically highlighted through the flight into a secluded room – in which the stakes of her art will be proven.

Chantal Akerman, 1975, 201’

Sam Adams: That’s very much the feeling of watching Jeanne Dielman, where the repetitive ritual of her daily chores forges a connection with the viewer that’s practically physical, to the extent that you feel a jolt when she drops the shoe that she’s shining, or lets

Chantal Akerman, 1976, 86’

“René Magritte’s painting Man With Newspaper (1927-1928) tells me something about the customary disquiet of Akerman’s world.

Chantal Akerman, 1978, 127’

“Why/how are the images so gorgeously luminous and cadaverously creepy at the same time, a form of possession and dispossession that seems to match perfectly Akerman’s relation to her movie, which she uses like a mirror? Is that the way that we use it, too?

Chantal Akerman, 1983, 82’

“It begins with voices heard over black - the voice of an actor and a director, trying to find the right intonation for a short enigmatic phrase: ‘A ton âge, un chagrin, c’est vite passé’ - meaning, ‘At your age sorrows soon pass’, or maybe, ‘At your age misery doesn’t last’.

Chantal Akerman, 1984, 12’

“Je moet alleen doen waar je echt zin in hebt, zei ze me. Als je als toneelregisseur enkel zin hebt om Tsjechows stukken te ensceneren, omdat je dat het mooiste vindt van wat er ooit voor het toneel geschreven is, dan doe je dat toch, zegt ze.

Chantal Akerman, 1986, 96’

“Aanvankelijk zin om een komedie te maken. 

Een komedie over de liefde... en de handel. 

Burlesk; teder, waanzinnig. 

Vervolgens was één plaats het uitgangspunt van alles. 

Een plaats die ik goed ken omdat ik er verscheidene malen als verkoopster heb gewerkt.

Chantal Akerman, 2015, 115’

Daniel Kasman: This is not the first film we’ve seen of yours that is about your relationship with your mother. This has been a filmmaking motif for you. Can you say something about its importance, the relationship to your filmmaking practice?