Since the 1980s, famed cellist Sonia Wieder-Atherton has been present in much of Chantal Akerman’s work, whether through her numerous collaborations soundtracks, or as a protagonist (as in Rue Mallet-Stevens, 1986), or in this case, as the subject of an extended documentary portrait. The film begins with a voiceover from Akerman, describing and situating her subject, after whic...
"My mother because, in one way or another, I talk about her constantly in my films, and often, I wonder if I have really worked so hard for her, about her, in relation to her, also my mother and her relationship with the movies, a relationship sometimes of recognition, sometimes of negation". – Chantal Akerman
In this 2007 interview, an off-camera Chantal Akerman interviews her...
Official selection
2015 Tribeca Film Festival
2015 DOC NYC
2015 Geneva Film Festival
voice over by Chantal Akerman
written, filmed & directed by Vladimir de Fontenay
editing by Jenn Ruff
sound design by Mathieu Rathelot
music by TOYS
a GELSOMINA film
A young mother, alone with her daughter, confides in a friend who happens to be the director herself. Chantal Akerman, although she sympathizes with the mother, does not say a word.
Filmed as part of Akerman’s film school entrance exam, these raw and playful 8mm miniatures capture life at a Brussels fairground and the courtyard of a hotel, alongside an oblique, two-part fiction set in the seaside shops of Knokke.
Commissioned for the centenary of the famous French architect and designer Robert Mallet-Stevens and shot on the street that bears his name in Paris' 16th arrondissement, Rue Mallet-Stevens depicts a mysterious, nocturnal scene of romance (featuring Akerman and her partner, the cellist Sonia Wieder-Atherton) unfolding before and inside one of the street's modernist construction...
In this radical meditation on image-making, Babette Mangolte puts the viewer of the film in a vantage similar to that of the photographer looking at her subject. This structural device reveals a series of studio portraits not as neutral observational exercises, but as a subtle accumulation of interpersonal tensions and meanderings. In the film’s second half, Mangolte captures s...
女演员德尔芬·塞里格和录像艺术家卡罗尔·罗索普洛斯的会面将我们带到20世纪70年代女权主义的中心。她们手中拿着摄像机，用傲慢、不妥协和幽默进行激进的斗争。
This sixty-nine-minute documentary, shot by Sami Frey and edited by Agnès Ravez and Chantal Akerman, was made during the shooting of Jeanne Dielman and looks at the on-set relationship between Akerman, Delphine Seyrig, and the crew.
