Anna, a detached and diffident director, arrives in Germany to show her latest film; she checks into a hotel, invites a stranger to her bed, and abruptly tells him to leave. He asks her to ... See full summary »
Three young women at a hair salon all like the son of the clothing store proprietors across the mall. Although Robby is selfish and shallow, he's appealing to Lili, the salon's manager, ... See full summary »
Chantal Akerman, the Belgian filmmaker, lives in New York. Filmed images of the City are accompanied by the texts of Chantal Akerman's loving but manipulative mother back home in Brussels. ... See full summary »
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 ... See full summary »
Hotel Monterey is a cheap hotel in New York reserved for the outcasts of American society. Chantal Akerman invites viewers to visit this unusual place as well as the people who live there, from the reception up to the last story.
In a 360° circular panoramic shot the camera slowly pans an entire apartment (or house). When it first passes the bedroom there is nobody there but each time it shows the room again Chantal... See full summary »
Following over two dozen different people in the almost wordless atmosphere of a dark night in a Brussels town, Akerman examines acception and rejection in the realm of romance. Written by
Matthew A. Wilson
Good Chantal Akerman, but not great Chantal Akerman!
Toute une nuit (1982) ("All Night Long") was written and directed by Chantal Akerman. Akerman is one of my favorite directors, but she's not at her best in this film.
The basic plot is a series of pairings that take place during a warm night in Brussels. Some of the characters live in the same building, but I don't think any couple interacts with any other couple in the movie.
The film is dark, and the couples are not highly attractive. I have to admit that the action didn't fly by--it was a long 80 minutes.
On the other hand, Akerman has the courage to stay with a scene when other directors would cut away. Better still, she often continues the scene when the principal actors have left the frame. It's only then that the viewer discovers the characters that have been literally and figuratively in the background. Their stories might be as interesting as the stories we are following. Maybe they'll be in Akerman's next film. Maybe she's already made that film, and I just don't know it.
5 of 6 people found this review helpful.
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