A number of couples meet, make love, part, dance, drink, eat, talk on the phone and sleep during a hot summer night in Brussels. –Inbaseline
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
Using a lexicon of ellipses, Akerman suspends, distills, and signifies life's loneliness, denotes its warmth, merging content with the direct release of its form; obdurate layering of meaning without plot: incomparably human. Film semiologist Metz observes image communication/signification, appropiate here: "A thing or a being yields its singularity through expression in a message that implies no answer." Flawless.