In 1996, Akerman directed the more mainstream romantic comedy Un divan à New York / A Couch in New York with William Hurt and Juliette Binoche, which gained mixed reviews. While tracking, the camera often slowly zooms out, as though the line or road observed were diverging…, In From the East, Akerman proffers a multiplicity of identities endemic to the waning Eastern Bloc countries, showing us the creation of civic identity in real time. How does the present call up the past? FROM THE OTHER SIDE looks at the situation of Mexican immigrants at the border between Agua Prieta, a Mexican border town in the state of Sonora, and Douglas, Arizona, the city on the other side. 2010) is a collectively-run screening space in Brooklyn, NY, established and staffed by hard-working, cinema-loving volunteers. We were proud to bring back Belgian filmmaker Chantal Akerman’s film Tomorrow We Move from 2004, and to feature the U.S. premiere of a new documentary on Akerman by Marianne … Marking its 25th anniversary, the New York Jewish Film Festival in January 2016 presented a retrospective of films from the Festival’s history. One day, Pina asked... : A documentary by Chantal Akerman.. [Pina Bausch; A2, INA, RM Arts, RTBF, BRT. By physically crossing the border and filming on both sides, we experience Akerman’s and our own ease of travel between, as well as witness the shift into the militaristic and racially skewed reality existing in Douglas, Arizona. Review by Cecil Selwyn ⛄ ★★★★½, lofi ambient cinema - slow pans to relax/study to. Your email address will not be published. – Chantal Akerman Chantal Akerman was one of the most important filmmakers of the late-20th century, whose films have had a profound impact on feminist discourse within the cinema, and within avant-garde film and video art at an international level. Recs welcome! NEXT LEVEL FUCKED UP: A NIGHT WITH VANESSA RENWICK. "Hypnotic" usually means dull, but I feel asleep a little during this and started remembering dialogue scenes that hadn't happened. Last week London-based screening collective A Nos Amours began their ambitious plan to screen the complete Chantal Akerman in the capital over the … Chantal Akerman, 1993 France/Belgium, 110 min. Akerman spends a brief period on her own in an apartment by the sea in Tel Aviv. Poland had just recently stopped being a communist government in 1989 and the Soviet Union fell a year later, so the sites that we're shown here are still really freshly with dealing with the fallout. This film seems to play out without narrative or characters, but that is only if you aren’t paying attention. Chantal Akerman originally planned to make a meditative film on the American South. It's a time capsule disguised as a documentary. The Akerman film it most closely resembles in approach is her first feature Hotel Monterey, even though the two could not be more different in overall effect. Specifically, the journey starts in Eastern Germany, moves to Poland, and finishes in Moscow. Similar in structure to her earlier film SOUTH, and stylistically reminiscent to FROM THE EAST, FROM THE OTHER SIDE feels perhaps the most active. SOUTH is constructed of static shots and long pans along country roads interspersed with interviews with townspeople. She's not reaching for anything beyond that, it just works. Shortly after the collapse of the Soviet bloc, and “before it was too late”, Chantal Akerman made a journey from East Germany in late summer, across Poland and the Baltics, to deepest winter in Moscow, “filming everything that touched me”. Her framing frequently probes us to spot the vestiges of Soviet rule, and above all she seems intent on renouncing any monolithic conceptions of Eastern Europe. Hoberman, The New York Times, “La-bas at first seems painfully esoteric, but for those with patience there is, as promised, a pay-off.”—Frieze Magazine, “One of the great documentary self-portraits.”—Richard Brody, The New Yorker. - Akerman shoots in a way that at first can feel removed or distant, but once it settles in you get a real sense of the subjectivity and the specific perspective she's trying to offer the viewer. Chantal Akerman retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow. If anything best describes what I love most about the films of Chantal Akerman, you could just watch a documentary like From the East and let those images continuously sweep you in as it goes on. Akerman was allowed to film Byrd’s funeral and the ceremony is a considerable segment of the film. Her last film was the documentary No Home Movie, a series of conversations with her mother shortly before her mother's death; of the film, she said: "I think if I knew I was going to do this, I wouldn't have dared to do it." Je finis toujours par pleurer parce que je m'ennuie du monde, même de celui que je ne connais pas. dancing in the streets as the state crumbles, From my understanding, this is the first in a series where Chantal Ackerman investigated different locations by setting up a camera and soaking up terrain and people. Though, as a documentary, the film raises slightly different questions. People are on the move. 1993 ‘D'Est’ According to director Chantal Akerman, she never planned to make a film in Israel.  She senses a wave of change is about to wash over. It is an extremely intimate film but also one of great formal precision and beauty, one of the rare works of art that is both personal and universal, and as much a masterpiece as her 1975 career-defining Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles." Between static and tracking shots of desert landscapes and the border wall, Akerman interviews people who plan to or have attempted to cross the desert into the US, including a young boy in an orphanage. Akerman's unwavering camera takes us on a tour of Eastern Germany, Poland, Latvia, Lithuania and finally, Russia...right after the collapse of the Soviet Union. Occasionally broken by hand held camera shots that move within the environment completely drawn into view…! 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