The Eighties: a make-or-break time for artists, especially severe ones like Chantal Akerman, who decided she had it with idiosyncratic films nobody saw. A shift into the mainstream, then? The structure might shape a method-to-her-madness memo to studio heads handing out the funds, except this is Akerman, experimental down to her fingertips, the airy making of a musical just the natural extension of the august exploration of Jeanne Dielman.
Fernando F. Croce
June 30, 2006