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
Had some beautiful Akermanesque moments, but overall a bit too desolate and monotonous. Every interaction is heavy and bleak (except maybe the one with Anna's mother); everyone is despondent in his/her way. Missing some dynamic. Or maybe I just wasn't in the right state of mind to fully appreciate the elongation of time that comes with every Akerman film.
I probably didn't pay this movie as much attention as I should have, but the moments that I was present for were really interesting. Anna telling her mom in bed about her recent tryst with a woman, Anna rubbing Vick's on her lover's back (and going where he doesn't want her to go), Anna listening to her answering machine. It is to Akerman's credit that I feel like I know her better and understand her less.
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.
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.
Una directora retorna de Alemania a Francia y en su tránsito irá teniendo una serie de "citas" en su mayoría no planificadas. Encuentros con personajes que nunca ha visto o con otros muy cercanos. Para ambos casos, sin embargo, se vuelven encuentros entrañables, aunque pasajeros. Es como si la rutina de Anna estuviera rodeada de gente extraña, incluyendo lo familiar. Akerman sigue apuntando a lo biográfico, la rutina