News from Home é um filme documentário coproduzido por teuto-belgo-francês dirigido por Chantal Akerman e lançado em 8 de junho de 1977. It was the loss of the city that stayed with me. Despite the multitude of filmmakers and characters that wander these urban environments, locating revelatory findings in its spatial-imaginary as they do, the flâneur remains a surprisingly underdeveloped concept in film theory. Her over 40 short and feature films range from structuralist experiments to romantic comedies, musicals to literary adaptations, diaristic essays to biographical portraits to thinly veiled autobiographical road movies. The Fondation Chantal Akerman was founded in 2017. They appear, they fill the frame, and then they shrink. A Your continued use of the Service after we post any modifications to the Privacy Policy on this page will constitute your acknowledgment of the modifications and your consent to abide and be bound by the modified Privacy Policy. It tries to make us see what she sees, and more crucially to make us feel something of what she feels. The film combines and overlays the two, but they certainly don’t connect. Directed by Chantal Akerman • 1989 • Belgium, France Starring George Bartenieff, Judith Malina, Eszter Balint Chantal Akerman explores Jewish American identity in this multilayered portrait of the immigrant experience. Into the Fog: On the Last Shot of Chantal Akerman’s News from Home By Eric Hynes I didn’t know about Chantal Akerman’s News from Home (1976) until I was deep into my twenties, yet I’d been preoccupied by what she captures in its final shot from as far back as I could remember. Akerman’s presentation of New York in that movie is so specific and personal—fifty or so shots of the city accompanied by her own voice-over recitations of letters sent from her mother back in Brussels—that it’s less a universalizing force than an engine engendering responses that are equally specific and personal. This Log Data may include information such as your computer's Internet Protocol ("IP") address, browser type, browser version, the pages of our Site that you visit, the time and date of your visit, the time spent on those pages and other statistics. It was that long fade that I felt most deeply, that long, seemingly unblinking track backwards to a home that didn’t feel like where I belonged, away from a place that I could never earn or obtain, that presented itself as an exciting and scary maze that morphed into a quietly forbidding wall as I departed it. And perhaps those of us that do also feel differently about that final shot, and about that journey from one island to another. (en) Chantal Akerman's "News from Home", Nicholas Elliott, 14 janvier 2014 Portail du cinéma belge Portail des années 1970 La dernière modification de cette page a été faite le 19 avril 2020 à 08:38. The tone of longing that’s established through the letters is countered by a sense of loss in the pictures. Sinopsis: Imágenes de la ciudad de Nueva York y sus habitantes. I don’t ever recall the approaching view of the island from the Staten Island Ferry, at least after the day ended (perhaps I savored the arrival while I was there, but more likely is that I was too stimulated and ecstatic for such reflection). It stands still and yet it moves over the water, and over time. Instead of dissociating from camera, Akerman becomes it. Perhaps some of us feel this less intensely than others. If we make any material changes to this Privacy Policy, we will notify you either through the email address you have provided us, or by placing a prominent notice on our website. News from Home: The Films of Chantal Akerman “I don’t feel I belong anywhere. In News from Home , Akerman lets the spectator stare at urban spaces while an off-screen narrator (Akerman) reads letters from a mother to an absent daughter. The READ MORE: Landmark Belgian Filmmaker Chantal Akerman Dies at 65 “News From Home” (1976) Letters from the filmmaker’s mother are read … Following her formative encounters with the films of Godard (she emulated the explosive finale of Pierrot le fou in her very first film, Saute ma ville, made when she was only 18) and, after a temporary move to New York, with the avant-garde work of Michael Snow, Jonas Mekas, and Andy Warhol, Akerman created her own unique brand of formalism, which could be read as a kind of hybrid of European high modernism and American experimentalism. By Eric Hynes. With Chantal Akerman. Her 16mm footage of anonymous streets, parking lots, subway stations and shabby fast food restaurants expresses a sense of disconnection—from home, family, the past and her old identity.Alongside this fantastic time capsule of a desolate city, Akerman reads aloud letters from her mother. News from home, released in 1977, is a sort of follow-up to Jeanne Dielman 23, Quai Du Commerce, 1080 Bruxelles (1975) in that it continues to follow Akerman’s contemplative aesthetics. © Reverse Shot, 2020. An acute and curious observer — of form, of architectural detail, of sound, of bodies in spaces — Akerman was also one of the first filmmakers to systematically acknowledge the fine line between documentary and fiction, imbuing her non-fiction works with lyricism and narrative suspense, and bringing to her narrative films a grasp of real-time rhythms and a sense of spatial and sensorial awareness that make us hyper-aware of our own presence in the world, prompting us to reset our own rhythms with those of her films. Elle a été une influence importante notamment pour Gus Van Sant, Todd Haynes et Michael Haneke3,4. I think it’s because she felt deeply what it means to live in but never possess the city, and furthermore what it means to both live and find living elusive. Chantal Anne Akerman (French: [ʃɑ tal akɛʁman]; 6 June 1950 – 5 October 2015) was a Belgian film director, screenwriter, artist, and film professor at the City College of New York. “I don’t feel I belong anywhere. A rusted, sea-foam green structure appears in the background, and behind them a hint of skyscrapers. Año: 1977. All Chantal Akerman’s installations are Courtesy Marian Goodman Gallery, New York, Paris, London and Chantal Akerman Foundation. The film consists of long takes of locations in New York City set to Akerman's voice-over as she reads letters that her mother sent her between 1971 and … The moment I think I understand and appreciate it, it’s already fading away. Her work, as reflected through her own life, displays endless, complex dichotomies: romantic abandon and alienation; intimacy and distance; an indelible sense of place versus the disorienting displacement that made her a perpetual exile, shuttling between Brussels, New York, and Paris, never quite at home anywhere in the world; euphoria and melancholy; a furious productivity and constant need to work struggling against a paralyzing torpor. Elle est considérée comme une des figures de proue du cinéma moderne. In order to achieve these goals, the Fondation Chantal Akerman joined forces with CINEMATEK. It’s a shot that transpires entirely without voiceover, and its accompanying sound of waves lessens and retreats as well, reduced to a gentle splashing against the boat, less obviously recorded on scene than subjectively, dreamily applied. Few filmmakers have ever been better able to articulate a sense of presence, and also of the present, with those famous long shots locating film and filmmaker physically and temporally. Cinémathèque Royale de Belgique (Fondation Chantal Akerman c/o CINEMATEK) considers the privacy of and dealing with your personal data as extremely important. Impersonal but beautiful images of Akerman's life in New York are combined with letters from her loving but manipulative mother, read by Akerman herself. Directed by Chantal Akerman • 1976 • United States Letters from Chantal Akerman's mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. Then the towers appear, just at left. She died on October 5, … Akerman regularly incorporates letters into narrative, but News from Home, and the massively underseen Letters Home (1986), are her only epistolary films. The picture emerges of … In News from Home, Akerman is neither here nor there, and that any of us can watch the film and understand this for every second and frame of it, is simply, actually miraculous. CINEMATEK wants to be very transparent on how we deal with your personal data. A different angle on moving images—past, present, and future, By Michael Koresky Seagulls trail behind, flying above the ferry’s lengthening wake. Akerman used to say that her mother, a woman who preferred to forget the trauma of her past, would often say there was nothing to say. Belgium-France, 1976 / 16mm / Color / 90 min, Belgium-France-Germany, 1978 / 35mm / Color / 127 min, Belgium-France, 1982 / 35mm / Color / 90 min, Belgium-France, 2015 / video / Color / 115 min. In addition, we may use third party services such as Google Analytics that collect, monitor and analyze this…. For more information, please read our cookie policy.CLOSE [X] The shot begins with lights dimly alighting a dark tunnel, pulling back to the towering, frame-filling, wood-pylon walls of a boat slip. Chantal Akerman (parfois orthographié à tort Chantal Ackerman1) est une cinéaste belge, née le 6 juin 1950 à Bruxelles et morte le 5 octobre 2015 à Paris2. Every shot in News from Home is and feels placed, transforming the camera from a receptor, a capturer, into a physical and mechanical extension of the filmmaker. For any request about Chantal Akerman’s works, you can contact the foundation at: works@chantalakerman.foundation, For any research request, you can contact the archives at: archives@chantalakerman.foundation, Projection à La Rochelle International Film Festival, News from Home: The Films of Chantal Akerman, Jeanne Dielman, 23, quai de Commerce, 1080 Bruxelles. CINEMATEK — the Film Archive of Belgium — is itself a non-profit Foundation. I didn’t know about Chantal Akerman’s News from Home (1976) until I was deep into my twenties, yet I’d been preoccupied by what she captures in its final shot from as far back as I could remember. Most of our information can be found on our website, however, it is possible that in some cases, we will ask you for some personal information. For many years Chantal Akerman was a member of its Board of Directors, and which she had entrusted with the conservation of her cinematographic works and their restoration. And in the end it’s as profoundly, beautifully, tragically unresolved as we are. News from Home es una película dirigida por Chantal Akerman con Chantal Akerman. Born in Brussels in 1950 to Polish immigrants who survived the Holocaust, Chantal Akerman was exceptionally precocious, prolific, and prescient. While technically a part of the city, Staten Island was, and is, another world. If you have any further questions for or about the Fondation Chantal Akerman, please contact us by mail. Chantal Akerman - 1977 - Chantal Akerman moved to New York in the 1970s. Both projects explore the relationship between mother and daughter Chantal Akerman was born on June 6, 1950 in Brussels, Belgium as Chantal Anne Akerman. We reserve the right to update or change our Privacy Policy at any time and you should check this Privacy Policy periodically. | March 28, 2016. Chantal Akermans News from Home wird mitunter als Liebeserklärung an ihre Mutter beschrieben, kann aber auch als Darstellung einer Distanzerfahrung verstanden werden. Chantal Akerman, the Belgian filmmaker, lives in New York. If that is the case this information will be collected and processed in accordance with the law of December 8th, 1992 on the protection of privacy with respect to the processing of personal data. In some ways, it is a soothing film. Chantal Akerman, Director: Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles. And it is this “nothing” that comprises Akerman’s work — in other words, everything meaningful. Título original: News from Home. The director of Invisible Life shares a list of movies that illuminate the possibilities of cinema, including masterpieces he discovered through New York’s art-house scene. Her signature long takes, oscillating between static, monumentalized compositions and sweeping tracking shots that set off movement against stasis (both literal and existential), probed the patterns and textures of everyday life, revealing what is imperceptible to most — not least of which was the potential for violence lurking within the quotidian. While using our Site, we may ask you to provide us with certain personally identifiable information that can be used to contact or identify you. On the Last Shot of Chantal Akerman’s News from Home She excelled in the extremes: her films could be all narrative climax (such as her underrated, love-stricken Toute une nuit) or completely denarrativized, such as Les Rendez-vous d’Anna, which is structured from beginnings and endings and evinces a wrenching modern soul-sickness. Seeing Battery Park, leaving Battery Park, losing Battery Park. This Privacy Policy is effective as of 26.04.2018 and will remain in effect except with respect to any changes in its provisions in the future, which will be in effect immediately after being posted on this page. Filmed images of the City are accompanied by the texts of Chantal Akerman's loving mother back home in Brussels. Into the Fog: They’re nearer than the rest of the buildings, which have now bundled together into a single grayscale mass, suddenly and without mercy. Directed by Chantal Akerman. She is best known for Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), which The New York Times called a … This is how I understood Manhattan, a.k.a. Conserving Chantal Akerman’s body of Art, including the archives and all the works ; Fostering the knowledge, the appreciation and study of Chantal Akerman’s oeuvre ; Assuring its dissemination and conservation of Chantal Akerman’s works ; Assemble, maintain and protect the rights of Chantal Akerman and of her works. Actually they’ve only ever been shrinking. She also created a large body of installation work and authored three books, the last of which — My Mother Laughs (recently translated into English), a searing memoir about her relationship with her mother — underscores Akerman’s innate restlessness, obsessive compulsions, fearless candour, and the porous boundaries between her art and her life. Fondation Chantal Akerman c/o CINEMATEK3, Rue Ravenstein B-1000 Brussels. [1] Conta a história da cineasta belga Akerman, que retrata o período que ela passou em Nova Iorque , com imagens de diferentes pontos da cidade e com narração da leitura de cartas escritas pela sua mãe, na Bélgica. Personal data are carefully and respectfully collected, processed and stored, in accordance with this policy and all applicable laws. To that end, last week I watched Chantal Akerman’s News From Home. the City, while growing up on Staten Island. We may use your Personal Information to contact you with newsletters, marketing or promotional materials and other information. From Wikipedia, the free encyclopedia News from Home is a 1977 avant-garde documentary film directed by Chantal Akerman. On the contrary, I have the feeling that I am only attached to the land under my feet. She was married to Sonia Wieder-Atherton. We’re two places at once, and thus nowhere entirely. She was unafraid to combine the deeply personal with formal rigour, emotional intensity with Chaplinesque physical humour, the deadpan with the wonderfully melodramatic. Chantal Akerman, 1975 [2] In «Hotel Monterey» and «News from Home» (1976), two of Chantal Akerman's films made in New York under the influence of structural filmmaking, a fixed shot of an empty corridor, or of a crowded The camera stands here, shooting there, and is never fully present in either. Not through performances or reaction shots, which film has long offered by way of emotional and psychological representation, but through the action of seeing. Akerman was a Belgian filmmaker transplanted to New York when she made News from Home, yet she communicated something very close to exactly what I felt and continue to feel as a Staten Islander. What she sees is what I see—technically and substantively. lícula gràcies al diàleg de la Carla Simón amb els Jo-ves Programadors de In 1971, at the age of 21, the Belgian filmmaker moved to Manhattan and lived there for two years during which time her mother sent her many short, impassioned letters describing the life of the family and begging her daughter to write home more often. The boat lists left, offering a greater vantage of what’s at right—the Brooklyn Bridge—before advancing further from the shore and giving a clear view of the departed slip, which, now fully apprehended, somehow seems to retreat more rapidly. All rights reserved Support forthis publication has been provided through the National Endowment for the Arts. While her filmography is too often centred on the masterpiece she made at age 25, Jeanne Dielman, 23, quai de Commerce, 1080 Bruxelles — which dramatically altered conventional perceptions of time and space in the cinema, and brought the previously neglected subjects of female subjectivity and domestic labour to the forefront — her energies, interests, and passions cannot be contained even within this immense work. Her films were inherently feminist, queer, and Jewish, but, more than anything, they resisted and refuted those (and all) labels by virtue of their raw humanism: they remain relevant and relatable to everyone who experiences them, confronted as we are by the absurdity, injustice, harshness, confusion, and profound beauty of the world. While we strive to use commercially acceptable means to protect your Personal Information, we cannot guarantee its absolute security. The security of your Personal Information is important to us, but remember that no method of transmission over the Internet, or method of electronic storage, is 100% secure. Shot in And as the Staten Island Ferry pulls away from Manhattan, her recording is indistinguishable from my own memory. Like many site operators, we collect information that your browser sends whenever you visit our Site. Find release information for News From Home (1976) - Chantal Akerman on AllMovie By using this site, you consent to the use of cookies. Two towering facts in the sky, drawing the eye as something to hold onto, like tree stumps lassoed from quicksand. Slowly, gradually retreating before they even appear. News from Home (1977) and Les Rendez-vous d’Anna (Meetings with Anna, 1978) exemplify Akerman’s continual risk-taking anti-cinema. The City comes more and more to the front while the words of the mother, read by Akerman herself, gradually fade away. With its insistently repeated motifs — epistolary exchanges, mother-daughter relationships, open-ended journeys, oral histories, performance, the sinister spectre of war — Akerman’s oeuvre is as thematically cohesive as her genres are varied, but it is also full of complexities, contradictions, and dualities. On the contrary, I have the feeling that I am only attached to the land under my feet. I just know that what it expresses is precisely what I feel as deeply as I feel anything: that the city is my ultimate intangible, real and metaphorical, the pinnacle of and ultimate metaphor for life, about which I feel the most intense, prevailing, and defining sense of romance, longing, and loss. And even there the ground is often a bit shaky.” Conserved at CINEMATEK, the paper and photographic archives of Chantal Akerman and Paradise Films are currently being catalogued, organized and digitized. The TIFF Cinematheque retrospective News from Home: The Films of Chantal Akerman begins Friday, November 1. Now the journey is nearly directly backwards, with more buildings entering at both sides of the frame. Rather one passes over the other, the longing of her mother separately, and indirectly, crossed by the longing of the images. She was a director and writer, known for Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975), Je Tu Il Elle (1974) and The Meetings of Anna (1978). Minutes pass, until the buildings and the sky and the water flatten and fade into a spectral rumor, the clouds absorbing the tops of towers and any uptown buildings vanished entirely from sight. Chantal Akerman’s 1977 drama News from Home I write about Akerman and News from Home as a way of writing about my own work. a person responsible for collecting and processing of your personal data) with respect to all data CINEMATEK collects on you, when you use one of our services. Letters from Chantal Akerman’s mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. More of the city starts coming into view, the swing of the boat tracking a sweep from right to left to incorporate one building after another, still close enough to offer space and depth between and among them, the somewhat foggy sky giving buildings in the background a lighter shade of grey than the ones in the foreground. Während die damals 27 Jahre alte Akerman die Mercure de France (Collection Traits et portraits). If you have any questions about this Privacy Policy, please contact us. I didn’t need to see a … Personally identifiable information may include, but is not limited to your name. What I desired, as well as feared, was on that rock to which I could dramatically arrive and depart by sea. Akerman’s final film, No Home Movie — a visceral, diaristic account of the director’s final encounters with her mother, released the same year that Akerman herself ended her life, following a long battle with depression — evokes in its very title this double-edged quality inherent to her work: home as something both present and elusive, comforting yet claustrophobic, there but soon gone, physical but (mostly) mental. What it records lasts for as long as it can, or for as long as it has to, or until it just stops. Moving Image Source was developed with generous and visionary support from the Hazen Polsky Foundation, in memory of Joseph H. Hazen. CINEMATEK is the Data Manager (i.e. — Chantal Akerman. Even after having lived within the confines of that shot, and having lived within stumbling distance of those towers, I still feel it. But like the skyline, by the time we come close to apprehending things, we’ve also lost them. 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