Je tu il elle

Like her spare, haunting portrait of a wandering filmmaker Les Rendez-vous d’Anna (1978), Akerman originally wrote Je tu il elle as a short story, and her imposition of a set of minimalist constraints creates space for an exploration of utter dissociation. Acting as herself, Akerman compulsively rearranges her few items of furniture, eats only from a bag of sugar, writes and rewrites a letter to a real or potential lover (rearranging the various drafts in a series of piles like a game of solitaire), and takes off her clothes and drapes them over her body. From the start, the film makes it clear that we cannot trust temporal continuity; the first line corresponds to the last action of the film. It is physical but formal. White bodies on white sheets. The film provides neither catharsis nor thesis. “[Chantal Akerman] movies give cinema heft. They have the rigour of a Poussin painting. She looks longer and harder than most directors, and almost seems to stop film’s flicker.”—Mark Cousins.

Other Films by Chantal Akerman

Portraitdunejeunefille

J’ai faim, j’ai froid & Portrait de une jeune fille de la fin des années 60 à Bruxelles

Young female characters take the lead roles in Akerman’s early films in which they seek their own identities and sexuality. In Portrait de une jeune fille (1993), a girl has decided to ditch school forever; she tears up her report card. At the movies, a boy next to her touches her leg with his; they

Lettre d'un cinéaste- Chantal Akerman

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

This program presents three films across three decades on artist/filmmaker Chantal Akerman, who directs two of the films in which she interrogates herself as subject alongside the nature and raison d’etre of cinema itself. In Lettre de Cineaste (1984), Akerman with Aurore Clément as a kind of stand-in or proxy asks “What is cinema for?

Letters Home

Letters Home

On 11 February 1963, Sylvia Plath, poet and author of The Bell Jar, thirty years old, married, with two children, killed herself. In 1975, Sylvia Plath’s mother, Aurelia Schober Plath, published Letters Home: Correspondence 1950-1963, an edited volume of her late daughter’s letters. In 1979, Rose Leiman Goldemberg wrote Letters Home, an off-Broadway hit which addressed the

From-the_East

D’Est (From the East)

D’Est is Chantal Akerman’s first documentary film shot on trips taken as the Soviet system was about to collapse, and echoes her legenday Jeanne Dielmann in its minimalist approach and long, uninterrupted sequence shots. Akerman has said she went ‘while there was still time’—what kind of time, nor whose time, nor if there is any elsewhere,

J'ai faim, j'ai froid

J’ai faim, j’ai froid & Portrait d’une jeune fille de la fin des années 60 à Bruxelles

Young female characters take the lead roles in Akerman’s early films in which they seek their own identities and sexuality. In Portrait de une jeune fille (1993), a girl has decided to ditch school forever; she tears up her report card. At the movies, a boy next to her touches her leg with his; they