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Chantal Akerman |
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Director / Screenwriter /
Actress |
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1950 - |
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Born June 6,
Brussels, Belgium |
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Key
Production Countries: Belgium, France |
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Key Genres:
Drama,
Avant-garde/Experimental,
Feminist Film |
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Key
Collaborators: Claire Atherton (Editor), Aurore Clement (Leading Character Player),
Raymond Fromont (Cinematographer), Delphine Seyrig (Leading Player), Alain
Dahan (Producer), Babette
Mangolte (Cinematographer), Francine Sandberg (Editor), Philippe Graff
(Production Designer), Christian Marti (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), Portrait of a Young
Girl at the End of the 1960s in Brussels [TV] (1994) |
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Worth
a Look: Je,
tu, il, elle (1974), Les Rendez-vous d'Anna (1978),
Toute une nuit (1982), Les Annees 80 (1983), D'Est (1993), La Captive
(2000), From the Other Side (2002) |
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Approach with Caution: Golden Eighties
(1986) |
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Duds: A Couch in New
York (1996) |
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* Listed in TSPDT's
1,000 Greatest Films
section. |
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Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Film Reference ] [
Wikipedia ] [
Strictly
Film School ] [
European Graduate School Faculty Page ] [
GLBTQ Biography ]
[
Moving Image Source Article (2008) ]
[
A.V. Club Interview (2010) ] [
Frieze Magazine Article (2010) ] [
The Criterion Collection ] |
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Books:
[
Chantal Akerman (French Film Directors) ]
[
Chantal Akerman: Moving Through Time and Space ] [
Identity
and Memory: The Films of Chantal Akerman ] [
Nothing Happens: Chantal Akerman's Hyperrealist Everyday ] |
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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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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director that we
haven't seen include Saute ma ville (1968), La Chambre (1972),
Hôtel Monterey (1972), Night and Day (1991) and Tomorrow We Move
(2004). |
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