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.
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Les Rendez-vous d’Anna is not among Chantal Akerman’s greatest films. But it contains an 18-minute sequence of some three or four scenes that remains as unsettling today as it was when I first saw it 38 years ago.
This film is like watching the thoughts of an alive soul: intimate moments mixed with the natural passage of time. Chantal Akerman shows you how to enjoy long silences, fog in the city, train rides; how to find love in lonely places; how to turn loneliness into solitude; how to breath.
Once again, Akerman explores the personal world of a woman going through isolation & relationships while travelling except it's on a filmmaker this time. There were so many feels I've had while watching it that I did spot at few similar themes from her other works (JE, TU, IL, ELLE being one of them) out, she still brought a lot out of her life onto film so well. Clément's performance + Penzer's camerawork = flawless
Less a character study than the cinematic tone poem of a soul stuck always w/in the parameters of a frame. Right away, relentless claustrophobic shots of Anna in doors, windows, compartments... Inescapably determined. Like her relations; or, rather, the monologues she elicits & the obliging performativity she offers in return, to signify care. And the nearly-numb ache for connection, still pushing us on, mechanically
How do we communicate? Akerman is explicit about that here, where she communicates to us, through film, a tale of a woman who only communicates through film. Others project onto her as if a blank screen, and how telling that her moment of revelation comes in a darkened room where she doesn't even look at her mother? After revelation things remain the same.
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.
Anna's societal alienation reflected on her encounters with people along her travel to Paris reflects the spirit of Akerman's feminist commentary: sparse, minimalist and often revelatory. Anna is not an ordinary woman, but a filmmaker whose own existence is clouded by her pursuit to for independence. Along the way she realizes the pursuit for independence is not a very happy one in contrast to other feminist works.