Chantal Akerman
Almayer’s Folly is a movie that quietly but forcefully acknowledges Chantal Akerman’s feminism, accommodating the racial imbalances with equal space as the gender dynamics.
Continuing her revolutionary depiction of real-time, No Home Movie epitomizes every quality that made Chantal Akerman’s cinema so groundbreaking.
The Film Inquiry staff reveals their favorite female directors, from Alice Guy-Blaché to Sofia Coppola.
We take a look at Chantal Akerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles, which deals with the mundane in a truly unique way.
Almayer’s Folly is deeply artistic and clearly rooted in Ackerman’s vision, but unfortunately due to a lack of characterization, it’s hard to sympathize with any of the characters.
Chantal Akerman is a unique director whose minimalist compositions have earned her a reputation as one of cinema’s foremost screen artists. Best known for her 1975 film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, Akerman’s body of non-fiction work stands out with deliberately punctuated documentaries, giving the term “fly on the wall” new meaning. While Akerman’s body of work is varied, her vision of melding reality and fantasy are sometimes indistinguishable, and this omnibus of her work shines a light on an omniscient eye for capturing the world around us.
