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| Chantal
Akerman |
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| Director
/ Screenwriter / Actress |
| 1950 - |
| Born June 6,
Brussels, Belgium |
| Key
Production Countries: Belgium, France |
| Key Genres:
Drama, Avant-garde/Experimental,
Feminist Film |
| Key
Collaborators: Alain
Dahan (Producer), Aurore Clement (Leading Character Player), Babette
Mangolte (Cinematographer), Raymond Fromont (Cinematographer), Claire Atherton (Editor), Philippe Graff
(Production Designer) |
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Highly
Recommended:
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) |
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Recommended:
News from Home (1976) |
| Worth
a Look: Je,
tu, elle (1974), Les Rendez-vous d'Anna (1978),
Toute une nuit (1982), D'Est (1993), Portrait of a Young Girl at the End of the 1960s
in Brussels [TV] (1994) |
| Links:
[
IMDB ] [
TCMDB ] [ All-Movie
Guide ] [
Film Reference ]
[
Icarus Films Profile ] [ Strictly
Film School ] [
Film Comment
Book Review ] [
GLBTQ Biography ] |
| Books: [
Identity
and Memory: The Films of Chantal Akerman ] [
Nothing Happens: Chantal Akerman's Hyperrealist Everyday ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: Jeanne Dielman,
23 Quai du Commerce, 1080 Bruxelles (1975) |
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"At
the age of fifteen Chantal Akerman saw
Godard's Pierrot le fou
and realized that filmmaking could be experimental and personal.
She dropped in and out of film school and has since created
short and feature films for viewers who appreciate the
opportunity her works provide to think about sounds and images.
Her films are often shot in real time, and in space that is part
of the characters' identity." -
Lillian Schiff (The St. James Film Directors Encyclopedia, 1998) |
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"Belgian-born
director who makes long, often tedious, but sometimes
hypnotically watchable arthouse films in which the camera's
concentration on scenes for a long period of time can turn the
viewer's pleasure into discomfort, interest into boredom or
disinterest into perception. A unique film-maker, she continues
to alternately baffle and fascinate her audiences." - David
Quinlan (Quinlan's Film Directors, 1999) |
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"Independent
filmmaker noted for her minimalist narratives and static visual
style...Her films, often dramatically vague and nearly plotless,
typically seek to explore human emotion and character through
unorthodox cinematic means. Although she is admired by serious
critics, her films are barely accessible to general audiences.." - (The
MacMillan International Film Encyclopedia, 1994) |
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