Starting from age 18 with her rumbustiously deadpan short Saute Ma Ville (1968), some of Akerman’s themes were already set in stone: buildings as manifested inner prisons, angst and domestic rituals. Moving to New York City in the 1970s was paramount in stylistic development. Soaking up the work of underground luminaries like Andy Warhol, Michael Snow and Jonas Mekas, both Hotel Monterey and La Chambre exhibit the notoriously unwavering rigour aficionados knew her for. The latter being one of my favourites, it presents a concise (approx. 10 minutes) ruminative abstraction of observation that subjects our gaze to the director’s inside a crammed studio apartment. This, including customary cinematographer Babette Mangolte’s languid 360 to rigid 180 degree camera pans, lucidly transmits anxieties of entrapment.