MR: If I’m not mistaken, you never shoot your own images but always use a camera operator—from the beginning all the way to From the Other Side, in which you employed a mix of media, including your own small digital-video camera. News from Home Directed by Chantal Akerman • 1976 • United States Letters from Chantal Akerman's mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. In some ways, it is a soothing film. So I circle around it. This is more than a director’s perspective: she is making room for the audience member to stand in her place. Chantal Akerman’s News From Home (Not Rated) Reviewed by Joshua Gibbson April 16, 2015 I write this on a train, returning home after four days in New York City. Akerman is the daughter and Brussels is home. ISM ISM preserved by Anthology Film Archives with support from the National Film Preservation Foundation and The Andy Warhol Foundation for the Visual Arts. Later, when people would meet me, they’d realize that. MR: Another characteristic of your films lies in the musicality of the languages. There are no big car accidents, no big effects, everything is very, very, very, very tight. CA: No, no. Because I want to go make a documentary without knowing what I’m doing. If you scratch. By leading the audience into the heart of that tension, Akerman invites the viewer to be inside the outsider. Belongs to: Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. AKA: Briefe von zu Haus. They may evoke the lines in the camps or in wartime. Chantal Akerman, the Belgian filmmaker, lives in New York. I’ve made plenty of things that had to do with that. The Belgian-born, Paris-based director Chantal Akerman died on October 5th, at the age of sixty-five. But I realized that later, not at the beginning. frontal images.” And the fact that she was born in Belgium in 1950, that her parents were Polish Jews, and that “her cinema is totally impregnated with that.” And her persistent struggle to escape these (and other) categories. Join our newsletter for a weekly update of recent highlights and upcoming events. Directed by Chantal Akerman. It’s not for me; it’s because you have to ask for money. artforum.com is a registered trademark of Artforum International Magazine, New York, NY. And we say, “That’s it!” Why? CA: That’s true, but I’m always very close to the image. and . Support BOMB Magazine's mission to deliver the artist's voice by donating today. MR: But everyone finds something different in your work, which doesn’t quite fit together as a whole—and yet, you’re a single person. “We wanted to find a language,” she added, “which was the language of women.”Mangolte and Akerman met in the early 1970s by way of French filmmaker Marcel Hanoun—Akerman, after directing two short films, headed to New York with … Sound: Dominique Dalmasso. CA: There’s an enormous amount of people who are not border dwellers, first of all. But I’ve already spoken about all that. As Chantal Akerman (the woman in the chair) explains at the outset, since the directors she suggested had already been filmed, she proposed a self-portrait “with the idea of making my old films talk, of treating them as if they were rushes that I’d edit to create a new film, which would be my portrait of me.” However, she goes on, the producers wanted her not only to appear on-screen but to talk about herself, and “that’s where the problems started.”. Walsh, Maria (2004) 'Intervals of Inner Flight: Chantal Akerman's News From Home'. MR: On the question of time, I’d have thought that today people would be more used to your way of working. They talk about coming of age, from the “tragicomic burlesque” of her first film, Saute ma ville (Blow Up My City, 1968), and the early sexual questioning of Je tu il elle (1974), both of which feature Akerman as the young woman in question, to later versions of same in J’ai faim, j’ai froid (I’m Hungry, I’m Cold, 1984) and Portrait d’une jeune fille de la fin des années 60 à Bruxelles (Portrait of a Young Girl at the End of the ’60s in Brussels, 1993). At our interview last February, there was no dog—we met at the Paris office of Paulo Branco, the producer of La Captive (1999) and her new “musical tragicomedy,” Demain on déménage (Tomorrow We Move), which premiered in France last month—but as in her self-portrait, Chantal Akerman, dressed in a dark jacket and pants, came into the room and sat down directly in front of me. Editing: Francine Sandberg. In the United States—in New York, in any case, and in other places, too—there are people who come from countries all over the world. Not because the works repeat themselves but, on the contrary, because each one is the product of a Sisyphus-like attempt to explain the inexplicable, to find the definitively missing links and fill in the irreparable gaps. Nicholas Elliott has been New York correspondent for Cahiers du Cinéma since 2009 and is Contributing Editor for Film at BOMB. His translation (with Alison Dundy) of Davi Kopenawa and Bruce Albert’s The Falling Sky was published by the Belknap Press of Harvard University Press in November 2013. By the time she shot News from Home in 1976, she had already raised the bar for intimacy on film, showing her own naked body writhing with her lover’s in her first feature Je tu il elle. An effort that, like the peeling of potatoes in Jeanne Dielman, the endless waiting lines in D’Est (From the East, 1993) or the deportation of “dirty” immigrants in De l’autre côté (From the Other Side, 2002), is common to her “story” and ours. Filmed images of the City are accompanied by the texts of Chantal Akerman's loving mother back home in Brussels. In all these so-called documentary films, there are always different layers. 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