An innocent and naive young woman arrives in Los Angeles to make it as a big-name actress, only to suffer though the pain and humiliation of the casting couch routine again and again thus getting a first hand look at Hollywood at its worst.
A young woman moves to Hollywood to find fame and fails badly.
1968, 26 min
Invented by the post-New Wave, the exercise is well-known: put a filmmaker in the frame, make him talk about his career, evoke his admirations, rummage in his methods, and add words to silences, spoken images to seen images. It’s always very instructive. As is the case here too. Chantal Akerman, passing through South America, talks about herself for an hour, and it’s fascinating. Even if her recalling of the relationship between the cinema and time makes up only a few rare minutes.
Interview with the Belgian director discussing her films from the 1970s and her mother’s influence on her work.
Marie-Chantal travels by train to her cousin's place to spend a winter holiday, when a stranger - apparently a fugitive from someone aboard - entrusts her with a jewel in the shape of a tiger with ruby eyes. Unknown to her, these false jewels contain a virus powerful enough to destroy all humankind. Doctor Kha is just one among many spies from different nations trying to get their hands on the tiger, or Marie-Chantal... It will give any nation a tremendous control over all others! Marie-Chantal, a snob girl, will evade all attacks by sheer female cunning, and shows tigerish qualities in dealing with her male, and female foes.
A filmmaker’s self-portrait, asking hard questions of herself and of us. Invoking Aurore Clément as a kind of stand-in or proxy, a glamorous counterpart to Akerman who sports a drawn-on moustache. What is cinema for? Who is it for? If the Mosaic prohibition on making graven images includes film images, then where does that leave a Jewish filmmaker?
I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.
Chantal, Gabrielle and Nelly, three fiftyish women, decide to make the trip to the wedding of an ex together.
Janine Bazin and André Labarthe approached Chantal Akerman about making a film for the series; eagerly, Akerman proposed a number of filmmakers—but all had already been done. So she suggested…“How about me?” Akerman creates a fascinating self-portrait that takes us through her career, aided by critics Emmanuel Burdeau and Jean Narboni and filmmaker Luc Moullet.
In this documentary, filmmaker Johanna Jackie Baier tells her story. It begins with Chantal’s escape to Berlin from the confines of a small country town in southwest Germany in 1980. Interweaving interviews and portraits, but also on- and off-stage stories, backstage gossip, copious amounts of music and excerpts from her shows, the film allows Chantal’s story to unfold before a backdrop of recent and very recent history. House of Shame takes us to the squats of Oranienstrasse of the early 1980s; to Martin Kippenberger’s newly founded club ‘SO36’; to the studios of the artists of the ‘Neuen Wilden’ movement, and the epicentre of gay emancipation. The film also takes a look at the lives and deaths of transsexuals. No amount of colourful parades and riotous parties can conceal the fault lines in a personality: a body can thwart everything and lead to apartheid among sex workers, in bars and even in everyday professional life.
Jack and Julie live in a bare flat in Paris. At night, Jack drives a taxi while Julie wanders around the city, and in the day they make love. One day Julie meets Joseph, the daytime driver of the taxi, and soon Julie is spending her nights with Joseph and her days with Jack.
Chantal Akerman was commissioned by Visions to make this short film for £20,000. It was first shown on 21 November 1984, on Channel 4. Akerman herself plays the role of a director visiting Hollywood to find financing from an uncle she hardly knows. Very little goes to plan… Also stars Aurore Clement and Colleen Camp.
In a chic residential area, the contrast between Gina, the wife of the wealthy businessman Mark, and her cleaning lady Chantal, cannot be greater. Gina and her villa neighborhood girlfriends Nicky and Eve enjoy "the good life" to the full, while Chantal is in debt and has a hard time making ends meet. Behind the beautiful facades of the residential area, however, there is a secret that is not allowed to see the daylight. A secret that even the women are unaware of.