A young girl comes back home, shuts herself away in her apartment, goes about her business in a strange way, hums as if she was mad, polishes her shoes and her legs as well, throws her cat out of the window and … kills herself.
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lucifer must be a woman and the seventh day should have been destined to her. after six days of arduous creation, here comes liciferess akerman and shouts: no! undo! let there be chaos. and does it brilliantly. saute toutes villes si vous voulez.
I might've grown up to appreciate, like Jeanne Dielman, the efficiency & calming effect of routine, but my inner world is still a lot like this! Wildly precocious first short (Akerman was 18!) The first time a film's sound design has had me breathless & captivated from the outset. Succumbs, finally, to the banality of the teenage imagination, but not before clearly establishing the irrepressible force of her vision.
My 2016 resolution: I watch Chantal Akerman's movie ALL. Upriftingly lilting, gradually heartbreaking tale about a girl who wanna have fun with death, making me remember that I wrote my death haiku when I was in high school. Her death is wonderful world's end, BOOM.
Yea, she only made it when she was 18. So i didn't expecting ivan's childhood,citizen kane,bottle rocket or whatever you called it as amazing debut. But, it was still a pain to watch it! Now I'm sure there's people out there saying I didn't get it, and that I should never watch Chantal Akerman's work because of my views on this, but, there is not necessarily any actual meaning here.
Esordio di Chantal Akerman. Esperimento goliardico, ma dal quale emergono già lo stile e i temi che influenzeranno le successive opere della cineasta belga, specialmente in attinenza a quelle realizzate negli anni Settanta: http://visionesospesa.blogspot.it/2015/09/tracce-31-saute-ma-ville.html
my first foray into Akerman. Somehow both precious and harrowing. Particularly the liberties taken with sound interest me. Beginning with a sequence wrought with movement and hurried humming moving to haphazard mania in a shut up tiny space. Eventually the actions becoming more manic and the humming reflecting a certain melancholic frenzy. Can't believe she was 18 when she made this.
It's enlightening to see how much this film has in common with Věra Chytilová's "Daises", since "Jeanne Dielman" could read as an inversion of the Czech director's raucous, anti-structuralist work. Mostly, it's just enjoyable to see Akerman have some fun (no matter how dark the undertones get).