- published: 05 Mar 2016
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Chantal Anne Akerman (French: [akɛʁman]; 6 June 1950 – 5 October 2015) was a Belgian film director, artist and professor of film at the City College of New York. Her best-known film is Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). According to film scholar Gwendolyn Audrey Foster, Akerman's influence on feminist filmmaking and avant-garde cinema has been substantial.
Akerman was born in Brussels, Belgium to Holocaust survivors from Poland. Her mother Natalia (Nelly) had survived Auschwitz, where her own parents had died. At 18, Akerman entered the Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion, a Belgian film school. Akerman dropped out during her first term to make the film Saute ma ville, subsidizing the film's costs by trading diamond shares on the Antwerp stock exchange.
Akerman claimed that, at the age of 15, after viewing Jean-Luc Godard's Pierrot le fou (1965), she decided, that same night, to make movies. In 1971, Akerman's first film Saute ma ville premiered at the Oberhausen short-film festival. That year, she moved to New York City, where she remained until 1972.
In this interview, Belgian filmmaker Chantal Akerman talks about her three months at film school, why she decided to make movies, when she was 15, about her mother, who suffered in a nazi concentration camp, about her breakthrough film "Jeanne Dielman" (1975), her disappointment with Juliette Binoche and commercial cinema and how a pimp from L.A. financed her first movies. This interview was recorded in September 2011 during the Venice Film Festival.
Dr. Henry Harriston (William Hurt) is a successful psychoanalyst in New York City. When he is near a nervous breakdown, he arranges to change his flat with Beatrice Saulnier (Juliette Binoche) from France. IMDb http://www.imdb.com/title/tt0118018/
Subscribe to INDIE & FILM FESTIVALS: http://bit.ly/1wbkfYg Subscribe to TRAILERS: http://bit.ly/sxaw6h Subscribe to COMING SOON: http://bit.ly/H2vZUn Like us on FACEBOOK: http://bit.ly/1QyRMsE Follow us on TWITTER: http://bit.ly/1ghOWmt I Don't Belong Anywhere: The Cinema of Chantal Akerman Official Trailer 1 (2016) - Documentary HD An experimental filmmaker and nomad, Chantal Akerman shared with Marianne Lambert her cinematic trajectory, one that never ceased to interrogate the meaning of her existence. And with her editor and long-time collaborator, Claire Atherton, she examines the origins of her film language and aesthetic stance. You're quite the artsy one, aren't you? Fandango MOVIECLIPS FILM FESTIVALS & INDIE TRAILERS is the destination for...well, all things related to Film Festi...
No Home Movie is a French-Belgian 2015 documentary film directed by Chantal Akerman, focusing on conversations between the film-maker and her mother just months before her mother's death. Premiering at the Locarno Film Festival on 10 August 2015, it is Akerman's last film.
Parlons cinéma | CHANTAL AKERMAN La cinéaste belge Chantal Akerman nous parle de sa carrière et de ses films. Une entrevue conduite durant le Festival de Cannes 1977. ---- Consultez le passeport CinéTFO : passeportcine.org Rejoignez-nous sur Facebook : https://www.facebook.com/cinetfo/ Plus de vidéos sur notre site : http://tfoplus.org/cine-tfo
Chantal Akerman / In the Mirror (1971/2007) NOW - Chantal Akerman Retrospective Ambika P3, London 6 December 2015
Chantal Akerman, In the Mirror (1971/2007) video installation NOW - Chantal Akerman's retrospective Ambika P3, London
Dr. Henry Harriston (William Hurt) is a successful psychoanalyst in New York City. When he is near a nervous breakdown, he arranges to change his flat with Beatrice Saulnier (Juliette Binoche) from France. IMDb http://www.imdb.com/title/tt0118018/
No Home Movie is a French-Belgian 2015 documentary film directed by Chantal Akerman, focusing on conversations between the film-maker and her mother just months before her mother's death. Premiering at the Locarno Film Festival on 10 August 2015, it is Akerman's last film.
Parlons cinéma | CHANTAL AKERMAN La cinéaste belge Chantal Akerman nous parle de sa carrière et de ses films. Une entrevue conduite durant le Festival de Cannes 1977. ---- Consultez le passeport CinéTFO : passeportcine.org Rejoignez-nous sur Facebook : https://www.facebook.com/cinetfo/ Plus de vidéos sur notre site : http://tfoplus.org/cine-tfo
The Centre for Research and Education in Arts and Media (CREAM) celebrates and critically explores the work and legacy of Chantal Akerman.
This talk centers on the films of Chantal Akerman, her depiction of the role of women, race and religion, and her refusal to be identified singly as a Feminist or a Queer. Her complex films eschew labels for all of her subjects and give deep, long looks at injustice. Speakers close to the late filmmaker—artists addressing gender and race in their own work—reflect on the balance of personal identity and social identity. Claire Atherton, Film Editor, Paris; Rania Stephan, Filmmaker and Artist, Beirut. Moderator: Kathleen Bühler, Curator, Kunstmuseum Bern, Bern. Friday, June 16 2017, 5pm - 6pm Filmed on site at Art Basel in Basel 2017.
Critics Michael Pattison and Neil Young’s third film festival video report for MUBI is from the Locarno International Film Festival, covering new films by Andrzej Żuławski (Cosmos), Alex Van Warmerdam (Schneider vs. Bax), Josh Mond (James White), Travis Wilkerson (Machine Gun or Typewriter?), Lois Patiño (Night Without Distance and Strata of the Image), Chantal Akerman (No Home Movie), José Luis Guerín (The Lesson of the Muses), and some old ones by a man named Sam Peckinpah. Read the introduction on the Notebook: http://mubi.tv/1V5vbDH
The Centre for Research and Education in Arts and Media (CREAM) celebrates and critically explores the work and legacy of Chantal Akerman.
Co-produced by Diet Soap, the Former People film podcast is our latest discussion series. In this episode, we discuss Chantal Akerman's iconic film "Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles." We discuss the notion of ritual in life, feminist readings of the film, and whether or not the experience of watching the film was like watching grass grow. See more from our magazine here: http://formerpeople.wordpress.com Listen to more of Diet Soap here: http://dietsoap.podomatic.com
In this interview, Belgian filmmaker Chantal Akerman talks about her three months at film school, why she decided to make movies, when she was 15, about her mother, who suffered in a nazi concentration camp, about her breakthrough film "Jeanne Dielman" (1975), her disappointment with Juliette Binoche and commercial cinema and how a pimp from L.A. financed her first movies. This interview was recorded in September 2011 during the Venice Film Festival.
In this 2009 interview for the Criterion Collection, filmmaker Chantal Akerman recalls conceiving and making her 1975 masterpiece JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES, and talks about how important it was to have an almost exclusively female crew.
Parlons cinéma | CHANTAL AKERMAN La cinéaste belge Chantal Akerman nous parle de sa carrière et de ses films. Une entrevue conduite durant le Festival de Cannes 1977. ---- Consultez le passeport CinéTFO : passeportcine.org Rejoignez-nous sur Facebook : https://www.facebook.com/cinetfo/ Plus de vidéos sur notre site : http://tfoplus.org/cine-tfo
A young Chantal Akerman describes her new film JEANNE DIELMAN without giving too much away. Out now on DVD: http://www.criterion.com/films/302-jeanne-dielman-23-quai-du-commerce-1080-bruxelles
The Critics Ep 18 - 'Chantal Akerman' Edited by Vaughan Smith Produced by Edwina Storie ABC ARTS Online
Chantal Akerman (b. 1950) gained international recognition with her three-and- a-half hour masterpiece, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), which portrays a housewife’s dull existence and eventual violent action. She has continued to be one of Europe’s most innovative filmmakers with more than forty film and television projects to her credit. Akerman’s work is minimalist, structuralist, and feminist. Major themes in her films include women at work and at home; women’s relationships to men, other women, and children; food, love, sex, romance, art, and storytelling. In this interview from 1976 Akerman discusses her early films, and the development of her particular vision.
Chantal Akerman describes the effect of seeing Jean-Luc Godard's PIERROT LE FOU for the first time in this 2009 interview for the Criterion Collection. Out now on DVD: http://www.criterion.com/films/302-jeanne-dielman-23-quai-du-commerce-1080-bruxelles
Imágenes de Chantal Akerman registradas por José Luis Guerin en el Festival de Venecia.
Please support our next film: https://www.kickstarter.com/projects/1712847999/notes-on-an-appearance Interview with filmmaker Chantal Akerman. Recorded November 2013.
video exploring gesture made for the release of SHINE-A-LIGHT june 2016 clips taken from - Chantal Akerman: Too Far, Too Close Dirty Girls by Michael Lucid Mary Oliver with Coleman Barks Gap-Toothed Women by Les Blank, Maureen Gosling, Chris Simon, and Susan Kell Gestures by Hannah Wilke Maryam: short on Emahoy Tsegué-Maryam Guèbrou Listening to Elephants by Cornell University Bikini Kill 'Lil Red' live 1992 Susan Sontag interview Philip Glass: Sesame Street, Geometry of Circles Chris Marker on Plato's Allegory of the Cave and the Myth of Cinema John Cage (Time and Space) Interview on Silence and Music Cute pandas playing on the slide Mike Kelley: Art, Sickness, the Fool James Baldwin interview Meredith Monk: 16 Millimeter Earrings Karen Finley interview Suburban Lawns 'Janitor' live J...
co-presented with Performance Space 122. “I was thinking about confined spaces, the space between the viewer and the screen, the space between two people, how being trapped in a space can seem liberating, the films of Chantal Akerman and something a friend of mine, long since dead, said about how every time he shouts the walls of his prison to dust, another rises up. And about what happens when the talking stops.” Created by Daniel Fish. Collaborators: Christina Rouner, Barbara Samuels, Perrine Villemur, Philip White.