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June 17, 2016 – May 18, 2017

Looking, Really Looking! The Films of Chantal Akerman 1968-2015 is a film and performative program which surveys the work of the Belgian/French filmmaker Chantal Akerman and places it within a conceptual, thematic, and historical context at the intersection of film and contemporary art. Akerman, whose work defies easy categorization, is often placed within feminist, queer, Jewish, and avant-garde circles, yet her oeuvre moves across genres from the documentary/essay to the musical and multi-media installations. Akerman, who took her own life late last year at the age of 65, presents us with complexities and doubts in a body of work that spans forty years and revolves around her personal family history, identity, memory and displacement, often portrayed in long takes within the modest aesthetics of everyday life.

Looking, Really Looking! is presented by the Northwest Film Center and Zena Zezza, a Portland-based contemporary art project, and is curated by Sandra Percival and Morgen Ruff. The project begins with four screenings this summer and resumes in September 2016, running through May 2017.


Almayer’s Folly

Directed by Chantal Akerman

With Almayer’s Folly, Akerman tackles the terrible legacy of the European colonial project in Southeast Asia head-on through an adaptation

Chantal Akerman par Chantal Akerman

Directed by Chantal Akerman

In Chantal Akerman par Chantal Akerman, the filmmaker turns a commission for Cinéma, de notre temps from ARTE, the French

Chantal Akerman Short Films 1968-1997

Directed by Chantal Akerman

This program presents a series of short films by Chantal Akerman from her earliest film Saute ma Ville (1968) to

Chantal Akerman: La passion de l’intime / An Intimate Passion

Directed by Zena Zezza: Dialogues Event

A presentation by Bérénice Reynaud. In the words of French art critic Elisabeth Lebovici, “Chantal Akerman’s cinema is within [us],”

Chantal Akerman: My Mother Laughs (Ma mere rit)

Directed by Zena Zezza: Dialogues Event

My Mother Laughs (Ma mere rit) is a performative reading of Chantal Akerman’s prose, written during her mother’s illness, shortly

D’Est (From the East)

Directed by Chantal Akerman

D'Est is Chantal Akerman’s first documentary film shot on trips taken as the Soviet system was about to collapse, and echoes

Errant Soul: From East to West and In Between

Directed by Zena Zezza: Dialogues Event

Errant Soul presents two approaches to Chantal Akerman’s films, one stemming from her Jewish identity and the other from the

From the Other Side

Directed by Chantal Akerman

On the Mexico-US border, the twin towns of Agua Prieta, Sonora and Douglas, Arizona—far from the population centers of Juarez/El

Histoires d’Amérique (Food, Family, and Philosophy)

Directed by Chantal Akerman

Shot in New York, Akerman’s first English-language film Histoires d’Amerique conjures up an informal history of Jewish life over the

I Don’t Belong Anywhere: The Cinema of Chantal Akerman

Directed by Marianne Lambert

I Don’t Belong Anywhere explores Chantal Akerman as a nomadic filmmaker and portrays her in conversation with her long-time collaborator,

Je tu il elle

Directed by Chantal Akerman

Like her spare, haunting portrait of a wandering filmmaker Les Rendez-vous d'Anna (1978), Akerman originally wrote Je tu il elle

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

Directed by Chantal Akerman

Chantal Akerman’s Jeanne Dielman and Saute ma ville are both depictions of a woman’s work in the home, but portray

Là-bas (Over There)

Directed by Chantal Akerman

Là-bas is one of Akerman’s most fragile and powerful works, in which she uses her own voice to personalize and

Le 15/8 & Dis-moi

Directed by Chantal Akerman

These three early Chantal Akerman films (spanning the 1970s) bring together different structures by which Akerman finds her own voice—through

Le Demenagement & Le Jour Où

Directed by Chantal Akerman

In a script written by Akerman, a man stands in his new apartment in a state of inertia and dislocation.

Les rendez-vous d’Anna

Directed by Chantal Akerman

Before pursuing filmmaking, Chantal Akerman set out to be a writer. Like her earlier feature Je tu il elle (1975),

Lettre d’un cinéaste, Chantal Akerman par Chantal Akerman & Autour de “Jeanne Dielman”

Directed by Chantal Akerman

This program presents three films across three decades on artist/filmmaker Chantal Akerman, who directs two of the films in which

News from Home

Directed by Chantal Akerman

Akerman returned to New York in 1976, having blazed a trail in Europe with her extraordinary Jeanne Dielman, 23 Quai

No Home Movie

Directed by Chantal Akerman

"At the center of Akerman’s enormous body of work is her mother, a Holocaust survivor who married and raised a

Nuit et jour (Night and Day)

Directed by Chantal Akerman

Julie and Jack, recently arrived in Paris, are a young couple from the provinces who spend their days making love

Rue Mallet-Stevens, Hôtel Monterey & Trois strophes sur le nom de Sacher (1972-1989)

Directed by Chantal Akerman

This program presents three Chantal Akerman films from 1972 to 1986, including one of her first feature films made in


Directed by Chantal Akerman

The work of James Baldwin and William Faulkner long influenced Chantal Akerman’s work and life, and she had long planned

Toute une nuit

Directed by Chantal Akerman

One summer night in Brussels, sweltering heat stifles the community, which draws people out of their comfort zone and into

Un jour Pina M’a Demande (One Day Pina Asked)

Directed by Chantal Akerman

Born a decade apart, Chantal Akerman (1950–2015) and Pina Bausch (1940–2009) were two remarkable female artists who redefined our cultural

The Northwest Film Center recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.