Barbara Sukowa stars in Margarethe von Trotta's Hannah Arendt, shot by Caroline Champetier Photo: Anne-Katrin Titze
The French Institute Alliance Française in New York is set to honour Caroline Champetier this fall with a CinéSalon eight film retrospective, curated by Delphine Selles-Alvarez and the famed cinematographer herself.
Caroline Champetier: Shaping The Light kicks off on September 19 with Xavier Beauvois' Of Gods And Men (Des Hommes Et Des Dieux), starring Lambert Wilson and Michael Lonsdale. Other highlights include Arnaud Desplechin's La Sentinelle (Emmanuel Salinger, Thibault de Montalembert, Jean-Louis Richard); Chantal Akerman's Toute Une nuit (Aurore Clément, Natalia Akerman, Paul Allio); Jean-Luc Godard's Grandeur Et Décadence D'Un Petit Commerce De Cinéma with Jean-Pierre Léaud, Marie Valera, Jean-Pierre Mocky and Caroline Champetier.
Holy Motors director Leos Carax Photo: Anne-Katrin Titze
Following screenings of Anne Fontaine's The Innocents (Les Innocentes) and Leos Carax's Holy Motors, Caroline Champetier...
The French Institute Alliance Française in New York is set to honour Caroline Champetier this fall with a CinéSalon eight film retrospective, curated by Delphine Selles-Alvarez and the famed cinematographer herself.
Caroline Champetier: Shaping The Light kicks off on September 19 with Xavier Beauvois' Of Gods And Men (Des Hommes Et Des Dieux), starring Lambert Wilson and Michael Lonsdale. Other highlights include Arnaud Desplechin's La Sentinelle (Emmanuel Salinger, Thibault de Montalembert, Jean-Louis Richard); Chantal Akerman's Toute Une nuit (Aurore Clément, Natalia Akerman, Paul Allio); Jean-Luc Godard's Grandeur Et Décadence D'Un Petit Commerce De Cinéma with Jean-Pierre Léaud, Marie Valera, Jean-Pierre Mocky and Caroline Champetier.
Holy Motors director Leos Carax Photo: Anne-Katrin Titze
Following screenings of Anne Fontaine's The Innocents (Les Innocentes) and Leos Carax's Holy Motors, Caroline Champetier...
- 8/11/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we look at Chantal Akerman's final film, 'No Home Movie'.
If No Home Movie is any indication, then Chantal Akerman had a lot of creativity inside of her to offer at the time of her far too premature death at age 65. I have no doubt that this, her final film, will likely confound those who find their way to it out of mere curiosity, but – and this is true of many films by many filmmakers, but especially so here – No Home Movie is a film that will most definitely play as something far deeper and more personal to somebody who is more familiar with her back catalogue than somebody who isn’t.
I know that sometimes it sounds awfully pretentious to say that. Who can be expected...
If No Home Movie is any indication, then Chantal Akerman had a lot of creativity inside of her to offer at the time of her far too premature death at age 65. I have no doubt that this, her final film, will likely confound those who find their way to it out of mere curiosity, but – and this is true of many films by many filmmakers, but especially so here – No Home Movie is a film that will most definitely play as something far deeper and more personal to somebody who is more familiar with her back catalogue than somebody who isn’t.
I know that sometimes it sounds awfully pretentious to say that. Who can be expected...
- 5/31/2016
- by Glenn Dunks
- FilmExperience
Natalia Akerman in Chantal Akerman's No Home Movie
Chantal Akerman, who died on October 5, 2015, will have UK premières of her 8 channel video installation Now and her last film No Home Movie on October 30. Now, commissioned for the 2015 Venice Biennale, is in surround sound with collected images by Akerman from "desert regions, specifically violently contested regions in the Middle East, her aim to present the current condition of violence and conflict as lived experience." Chantal Akerman: Now is curated by Michael Mazière of Ambika P3, Joanna Hogg and Adam Roberts of A Nos Amours, presented in association with Marian Goodman Gallery.
Chantal Akerman: Now at Ambika P3, University of Westminster
Atom Egoyan's remembrance of Chantal Akerman after having returned from the world premiere of his film Remember at the Venice International Film Festival: "What a terrible shock. I will never forget the experience of watching Jeanne Dielman...
Chantal Akerman, who died on October 5, 2015, will have UK premières of her 8 channel video installation Now and her last film No Home Movie on October 30. Now, commissioned for the 2015 Venice Biennale, is in surround sound with collected images by Akerman from "desert regions, specifically violently contested regions in the Middle East, her aim to present the current condition of violence and conflict as lived experience." Chantal Akerman: Now is curated by Michael Mazière of Ambika P3, Joanna Hogg and Adam Roberts of A Nos Amours, presented in association with Marian Goodman Gallery.
Chantal Akerman: Now at Ambika P3, University of Westminster
Atom Egoyan's remembrance of Chantal Akerman after having returned from the world premiere of his film Remember at the Venice International Film Festival: "What a terrible shock. I will never forget the experience of watching Jeanne Dielman...
- 10/28/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
So impressive was the output and so titanic was the presence of Chantal Akerman that news of her death, despite being about as current as any such notice could get, has already sent peals of shock, sadness, condolences, and tributes across the film world. How to come to terms with her absence? How to contextualize a force that’s absolutely unprecedented? Born to Auschwitz survivor Natalia Akerman — whose experiences would be a key influence on several efforts, including this year’s No Home Movie — she was, at only 15, inspired to enter the filmmaking fray after a viewing of Pierrot le Fou. Regardless of the extent to which Godard’s film feels like a siren for those who wish to think differently about the form, any influence is hard to comprehend when the art she would go on to create didn’t — still doesn’t; will never — feel like anyone’s predecessor or equal.
- 10/6/2015
- by Nick Newman
- The Film Stage
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