Chantal Akerman

Director, Actor, Screenwriter
One of the most significant independent filmmakers of her era, Chantal Akerman possessed a pronounced visual and narrative style, influenced by structuralism and minimalism, which offers astute insights into women's ... Read more »
Born: 06/06/1950 in Brussels, BE

Filmography

Director (36)

No Home Movie 2016 (Movie)

(Director)

Almayer's Folly 2012 (Movie)

(Director)

Là-bas il fait froid 2008 (Movie)

(Director)

The State of the World 2006 (Movie)

("Tombee de nuit sur Shanghaï") (Director)

Demain on Demenage 2004 (Movie)

(Director)

Tommorow We Move 2004 (Movie)

(Director)

From the Other Side 2003 (Movie)

(Director)

The Captive 2000 (Movie)

(Director)

South 1998 (Movie)

(Director)

A Couch in New York 1997 (Movie)

(Director)

Chantal Akerman by Chantal Akerman 1995 (Movie)

(Director)

D'est 1992 (Movie)

(Director)

Golden Eighties 1992 (Movie)

(Director)

Moving in 1992 (Movie)

(Director)

Nuit et jour 1992 (Movie)

(Director)

Contre l'oubli 1991 (Movie)

(Director)

Histoires d'Amerique 1989 (Movie)

(Director)

La Chambre 1989 (Movie)

(Director)

Toute une nuit 1989 (Movie)

(Director)

Un Jour Pina a demande 1989 (Movie)

(Director)

Les Rendez-Vous d'Anna 1988 (Movie)

(Director)

Un jour Pina m'a demande 1987 (Movie)

(Director)

Seven Women - Seven Sins 1986 (Movie)

("Sloth") (Director)

Letters Home 1985 (Movie)

(Director)

J'ai faim, j'ai froid 1983 (Movie)

(Director)

L' Homme a la valise 1983 (Movie)

(Director)

Paris Seen By... 20 Years Later 1983 (Movie)

("J'ai Faim, J'ai Froid") (Director)

Les Annees 80 1982 (Movie)

(Director)

Dis-Moi 1979 (Movie)

(Director)

News From Home 1976 (Movie)

(Director)

Je tu il Elle 1973 (Movie)

(Director)

Hotel Monterey 1972 (Movie)

(Director)

Le 15/8 1972 (Movie)

(Director)

L' Enfant Aime 1970 (Movie)

(Director)
Writer (27)

No Home Movie 2016 (Movie)

(Screenplay)

Almayer's Folly 2012 (Movie)

(Screenplay)

Là-bas il fait froid 2008 (Movie)

(Screenplay)

Demain on Demenage 2004 (Movie)

(Screenplay)

Tommorow We Move 2004 (Movie)

(Screenplay)

From the Other Side 2003 (Movie)

(Screenplay)

The Captive 2000 (Movie)

(Screenplay)

A Couch in New York 1997 (Movie)

(Screenplay)

Chantal Akerman by Chantal Akerman 1995 (Movie)

(Screenplay)

D'est 1992 (Movie)

(Screenplay)

Golden Eighties 1992 (Movie)

(Screenplay)

Nuit et jour 1992 (Movie)

(Screenplay)

Histoires d'Amerique 1989 (Movie)

(Screenplay)

La Chambre 1989 (Movie)

(Screenplay)

Toute une nuit 1989 (Movie)

(Screenplay)

Un Jour Pina a demande 1989 (Movie)

(Screenplay)

Les Rendez-Vous d'Anna 1988 (Movie)

(Screenplay)

Les Rendez-Vous d'Anna 1988 (Movie)

dialogue (Writer (dialogue))

Seven Women - Seven Sins 1986 (Movie)

("Sloth") (Screenplay)

L' Homme a la valise 1983 (Movie)

(Screenplay)

Paris Seen By... 20 Years Later 1983 (Movie)

("J'ai Faim, J'ai Froid") (Screenplay)

Les Annees 80 1982 (Movie)

(Screenplay)

News From Home 1976 (Movie)

(Screenplay)

Je tu il Elle 1973 (Movie)

(Screenplay)

Hotel Monterey 1972 (Movie)

(Screenplay)
Actor (13)

No Home Movie 2016 (Movie)

(Herself)

Chantal Akerman, From Here 2014 (Movie)

(Herself)

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles 2009 (Movie)

of Neighbor (Voice)

40X15: Forty Years of the Directors' Fortnight 2007 (Movie)

Herself (Actor)

Conversations in World Cinema 1999 - 2002 (TV Show)

Actor

Chantal Akerman by Chantal Akerman 1995 (Movie)

(Actor)

La Chambre 1989 (Movie)

Herself (Actor)

Les Ministeres de l'art 1987 (Movie)

Herself (Actor)

L' Homme a la valise 1983 (Movie)

Woman Returning (Actor)

5% de Risque 1979 (Movie)

(Actor)

News From Home 1976 (Movie)

Narration (Narrator)

Je tu il Elle 1973 (Movie)

Julie (Actor)
Producer (4)

No Home Movie 2016 (Movie)

(Producer)

Almayer's Folly 2012 (Movie)

(Producer)

Chantal Akerman by Chantal Akerman 1995 (Movie)

(Producer)

Je tu il Elle 1973 (Movie)

(Producer)
Camera, Film, & Tape (2)

No Home Movie 2016 (Movie)

(Cinematographer)

From the Other Side 2003 (Movie)

(Cinematographer)
Music (2)

Golden Eighties 1992 (Movie)

lyrics (Theme Lyrics)

Les Annees 80 1982 (Movie)

lyrics (Theme Lyrics)
Sound (1)

No Home Movie 2016 (Movie)

(Sound)
Other (2)

Karaoke Verite 1998 (Movie)

episode dedicated to Chantal Akerman(Original Rank: 5th) (Other)

News From Home 1976 (Movie)

commentary (Other)

Biography

One of the most significant independent filmmakers of her era, Chantal Akerman possessed a pronounced visual and narrative style, influenced by structuralism and minimalism, which offers astute insights into women's role in modern culture. Akerman's interest in film was sparked at the age of 15 by a viewing of Jean-Luc Godard's "Pierrot le Fou" (1965), prompting her to enroll in the Belgian film school, INSAS. After about two years' study she quit school, eager to begin making films rather than sitting in a classroom. Akerman saved money from clerical and waitressing jobs to make several short films which received minimal recognition. It was not until she moved to New York in 1971 that Akerman began to develop her distinctive visual style and to deal with those themes which dominated her work. In America she became acquainted with the films of the avant-garde, specifically those of Michael Snow and Stan Brakhage. Her first two features, "Hotel Monterey" (1972) and "Je Tu Il Elle" (1974), with their studiously static camerawork and minimal dialogue, were early indications of the visual style which came to full flowering in "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles" (1975). The reception of this 200-minute, minimally plotted film was mixed. It was criticized by many as a boring and meaningless minimalist exercise; Akerman's defenders, however, were awed by her visual aesthetic and use of real time to emphasize the routine of her protagonist's world. Thanks to the film's exposure, Akerman was able to secure financial backing from the Gaumont company and from German TV for the striking "Les Rendezvous d'Anna" (1978). Her first semi-commercial effort, it featured popular French actors Aurore Clement and Jean-Pierre Cassel in a story of a female director trekking across Europe to promote her latest film. Again, static camerawork and minimal dialogue created a sense of alienation which mirrored the emptiness and insincerity of the protagonist's encounters. After failing to raise $25 million for an adaptation of Isaac Bashevis Singer's 1969 novel "The Manor," Akerman returned to independent production with "All Night Long" (1982), an insightful drama contrasting romantic illusions with harsh realities. Akerman's "Golden Eighties" (1986) was a satire of musicals set completely within the confines of a Brussels shopping mall. Here too her concern was with idealized notions of romance; unlike her earlier works, however, the central story is complemented by several subplots and the film's pacing is a little more sprightly, although Akerman's signature static camera provides a unique perspective on the structured world of the shopping mall. In 1988 Akerman returned to New York to film "American Stories/Food, Family and Philosophy," an exploration of her Jewish heritage through a series of stories told by immigrants. In the '90s, Akerman moved into more commercial filmmaking as the independent film boom allowed more idiosyncratic cinematic approaches into the mainstream. The drama "Night and Day" (1991) attracted widespread critical attention, and was followed by "A Couch in New York" (1996), Akerman's most accessible film to date, starring William Hurt, Juliette Binoche, and Richard Jenkins. For the rest of her career, Akerman split her attention between experimental films, documentaries, and narrative features like "The Captive" (2000) and "Tomorrow We Move" (2004), both of which were co-written by Dutch novelist and theorist Eric de Kuyper. An adaptation of the Joseph Conrad novel "Almayer's Folly" (2010) received widespread critical acclaim. Akerman's final film, "No Home Movie" (2015), was a documentary about her mother, Natalia (who died in 2014), and her inability to speak about her experiences at Auschwitz. Chantal Akerman committed suicide on or about October 5, 2015, in Paris. She was 65 years old.

Relationships

Father
Polish-Jewish

Natalia Akerman

Mother
Polish-Jewish deported to Auschwitz during WWII Subject of Akerman's last film, "No Home Movie"

Sylviane Akerman

Sister

EDUCATION

Institut Superieur des Arts du Spectacle et Techniques de Diffusion (INSAS)

Brussels 1967 - 1968
did not complete four-year course

International University

Paris 1968 - 1969

Milestones

2015

Directed documentary "No Home Movie," about her mother's inability to discuss her time at Auschwitz

2011

Wrote and directed "Almayer's Folly," adapted from the novel by Joseph Conrad.

2004

Co-wrote and directed comedy "Tomorrow We Move"

2000

Wrote and directed "The Captive"

1999

Directed "Sud", an examination of the US South

1996

Helmed "Un Divan a New York/A Couch in New York", starring Juliette Binoche and William Hurt

1996

Directed, wrote and starred in "Chantal Akerman by Chantal Akerman"

1991

Directed and co-wrote "Nuit et jour/Night and Day"

1987

Co-directed "Seven Women, Seven Sins"

1982

Wrote and directed "Toute une nuit/All Night Long"

1980

Helmed the TV-movie "Dis-moi/Tell Me"

1975

Wrote and directed "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles", what she referred to as a "love letter" to her mother

1972

Made feature directing, writing, acting and producing debut, "Je tu il elle"

1970

Made four non-feature-length films, most notably "Hotel Monterey" (16mm, 65mins)

1968

Made first film, "Saute ma ville/Blow Up My City" (35mm, 13mins); shown at Oberhausen Film Festival in 1971

Bonus Trivia

.

Decided to become a filmmaker at age 15 after seeing Jean-Luc Godard's "Pierrot le fou."

.

Akerman's early cinematic influences included key figures from the New York avant-garde, including Jonas Mekas, Michael Snow, Stan Brakhage and Andy Warhol.

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