J'ai faim, j'ai froid (1984)
+ Lettre d'un cineaste (1984)
+ La paresse (1986)
+ Le marteau (1986)
+ Mallet Stevens (1986)
Golden Eighties (1986)
Letters Home (1986)
Histoires d'Amerique (1989)
Chantal Akerman is a film maker whose time has come: her work is news that stays news. It is a cinema that reinvents and redefines what film is and should be.
Akerman's work is superficially wide-ranging - documentary and narrative, film and video, 16mm and 35mm, cinema and gallery - and yet her work is characterised by an uncompromising and singular sense of purpose.
What Akerman shows us, by means structural and otherwise, is nothing less than the human condition, a series of astonishing mediations on loneliness and anxiety, alienation and discomfort.
Akerman so quickly, from her earliest work, established a startling and provocative project that is among the very greatest in European film.
As J. Hoberman has said: "Comparable in force and originality to Godard or Fassbinder, Chantal Akerman is arguably the most important European director of her generation".
“I don’t feel like I belong, and that’s without real pain, without pride. Pride happens. No, I’m just disconnected, from practically everything. I have a few anchors, and sometimes I let them go or they let me go, and I drift. That’s most of the time. Sometimes I hang on for a few days, minutes, seconds, then I let go again. I can hardly look. I can hardly hear. Semi-blind, semi-deaf, I float. Sometimes I sink. But not quite. Something, sometimes a detail, brings me back to the surface, and I start floating again…”·(from Akerman's voice over to Down There (2006)