In one of Akerman’s most penetrating character studies, Anna, an accomplished filmmaker (played by Aurore Clément), makes her way through a series of anonymous European cities to promote her latest movie. Through a succession of eerie, exquisitely shot brief encounters—with men and women, family and strangers—we come to see her emotional and physical detachment from the world. —The Criterion Collection
Dubbed by the Village Voice as “arguably the most important European director of her generation,” Belgian filmmaker Chantal Akerman is known for making innovative films that have often earned comparison to those of Jean-Luc Godard or Rainer Werner Fassbinder. Although she rejects the label of “feminist filmmaker,” Akerman has become a guiding light in making films about the real issues faced by women, employing an experimental, deeply personal approach to her subjects.
A disciple of Godard (who first inspired the then-15-year-old Akerman with his Pierre le fou), Akerman attended Brussels’ INSAS film school and the Universite Internationale du Paris. She demonstrated her devotion to Godard with her first amateur short subject, 1968’s Saute Ma Ville (Blow up My Town), which three years after its completion was entered in the Oberhausen Festival. Working on the fringes of show business in New York in the early ’70s, Akerman became an enthusiastic participant in the avant garde film… read more
Dalle stanze dell'Hotel Monterey alla stazione di Bruxelles, praticamente un viaggio quasi in tempo reale! Lo stile della Akerman è inconfondibile. From the rooms of the Hotel Monterey, to Bruxelles Station, in a journey almost in real time! Akerman's style is unmistakable.
An interior travelogue tracing the barren trajectory of one woman -- and maybe of film, art, sex, and Europe -- to Hotel Terminus, Anna is one of Akerman's most intriguing and beautiful films, as tender as it is alienated and as searching as it is formally claustrophobic. Made in a time more or less equidistant from our own overstimulated inertia and the zero hour of 1945, its anomie is chillingly prescient.
The Criterion Collection's recent releases of Chantal Akerman's early work have given me my first opportunity to see many of the films that
While Chantal Akerman's early works—Le chambre, Hotel Monterey, News from Home, Je tu il elle, and Les rendez-vous d'Anna—have been chronologically
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