you created at the movies, like the “New York Times” once wrote that “the first masterpiece of the feminine”: Chantal Akermann (1950 – 2015) .
Chantal Akerman is dead. The Belgian film director and video artist, the stubborn, delicate, decidedly and consistently has false images and embellished stories of life in the cinema as in art ever denied , died at the age of sixty-five surprising in Paris. She was a prominent experimental artist, widely exhibited their video works, such as the Documenta in Kassel, honored with retrospectives in film and art museums throughout Europe and celebrated as one of the most influential feminist filmmakers throughout the world.
A few weeks ago she had imagined her now last film “No Home Movie” at the film festival in Locarno, a film about the death of her mother, a survivor of Auschwitz. The trauma of survival, the silence of the survivors, is one of the topics in Chantal Akerman work. In their cells stick feel themselves sitting in a prison, she said a few years ago in an interview.
Minimalist, radical, seemingly amateurish, strictly personal, hyperreal – these concepts always fall when their work is of the speech. They all come to, but do not capture what it was like to meet for the first time one of her films. That must have been sometime in the late seventies, and the film was “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles”. The film with the bureaucratic sounding title was created in 1975. He became one of the defining films not only of the seventies, but also a turning point in filmmaking at all.
© AP A few weeks ago, Chantal Akerman had her now last film “No Home Movie” presented in Locarno. He deals with the death of her mother, a survivor of Auschwitz.
Still a few weeks ago had now Chantal Akerman their last film “No Home Movie” presented in Locarno. He deals with the death of her mother, a survivor of Auschwitz.
The memory of this first meeting with one of her films is indelible. Something never before seen, not even Erahntes found on the canvas instead: the Victory of the banal fact about the hero – just about called the then Frieda Grafe, while the “New York Times” wrote, was this film the “first masterpiece of the feminine” .
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“Jeanne Dielman” was a shock, which lasted three hours and twenty minutes. The former star of French cinema, the sandy-haired Delphine Seyrig, plays the Belgian housewife Jeanne, who, specially prepared plan ablebt an incredibly monotonous life after one, as it seems. Two days includes the film, and on the first day everything goes well. Jeanne receives their one customer they served daily as a prostitute; Boil the potatoes, while taking a bath, it snaps off the light when leaving a room, and it turns on when she enters another. On the second day in the second part of the movie chaos emerged not a Jacques Tati-like chaos, but only a crumbling of perfectly choreographed sequences, but elicits a similar vibration. The result is a murder, for we know no motive and even if it was not Joan’s first.
Nothing is more likely, but possible already. That is the freedom that Chantal Akerman gave their audience, and that was the amazing thing that suddenly before his eyes came with this film: that because the story of a housewife was told, every day in every gesture, every step, yet carefully planned, in the settled mooring no causality. In some extremely violent happened, but no internal, only an external development took place, that could be telling something on such an exciting way like a Hitchcock movie, that was the real shock. The exemption from the schmuck, on the Banality of conventionality. With “Jeanne Dielman” proved Chantal Akerman as a kind of cinema Gertrude Stein.
Later she then but also facing the usual narration, she even filmed with “Almayer’s Folly” Joseph Conrad. And only then was apparently as torn was.
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