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

Born a decade apart, Chantal Akerman (1950–2015) and Pina Bausch (1940–2009) were two remarkable female artists who redefined our cultural expectations. In theatrical dance works, Bausch took commonplace gestures and transformed them into extraordinary pageants, while Akerman choreographed wonderful cinematic compositions made of rhythmical everyday elements. In One Day Pina Asked, Akerman documents Bausch and her dance company for five weeks while they are on tour in Germany, Italy and France. The encounter is a meeting of sensibilities, a perfect combination of the filmmaker’s sage framing and the dancer’s flamboyant world-making. One Day Pina Asked “reproduces the pull between meaning and its impasse that structures Bausch’s dances. Focused under Akerman’s lens, Bausch’s oeuvre resolves as a matter of the quotidian, pathologized, its order deranged not through an absence but an acceleration of some underlying logic: something, in other words, like the readymade subject of an Akerman film.”—Courtney Fiske, Artforum. (French with English Subtitles)

The program will be introduced by Linda Austin, co-founder & director of Performance Works NorthWest in Portland, OR, has been making dance and performance since 1983, often with a strong visual element and a commitment to commissioning original music. Her working process exploits and explores the body’s powers and limits, bringing each performer’s vulnerabilities and strengths, accidental awkwardness and elegance, into a web of relationships—intimate, playful, confrontational—with other bodies, objects, environment, sound and media. The resultant improvisational and/or highly choreographed works are non-linear, poetic, often laced with humor, deploying movement that often disrupts what is generally considered “dancerly.” Austin’s background was originally in theatre.

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.

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