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Toute une nuit (1982)

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.

Director:

Chantal Akerman

Writer:

Chantal Akerman
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Cast

Credited cast:
Angelo Abazoglou Angelo Abazoglou
Frank Aendenboom
Natalia Akerman Natalia Akerman
Véronique Alain Véronique Alain
Paul Allio Paul Allio
Jacques Bauduin Jacques Bauduin
François Beukelaers François Beukelaers
Michèle Blondeel Michèle Blondeel
Philippe Bombled Philippe Bombled
Ignacio Carranza Ignacio Carranza
Aurore Clément
Christiane Cohendy Christiane Cohendy
Nicole Colchat Nicole Colchat
Edith De Barcy Edith De Barcy
Dirk de Batist Dirk de Batist
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Storyline

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

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Official Sites:

World Artists

Country:

Belgium | France | Netherlands | Canada

Language:

French | English

Release Date:

27 October 1982 (France) See more »

Also Known As:

Toute une nuit See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Soundtracks

L'amore perdonerà
Sung by Gérard Berliner (as Gino Lorenzi)
Courtesy of RCA Record
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User Reviews

 
Romance in brief
5 April 2011 | by lqualls-dchinSee all my reviews

Chantal Akerman's movies can be disconcerting: she is on the one hand a highly sensual filmmaker, with a great interest in textures and surfaces, and on the other hand, she can be highly conceptual. This combination can result in films which are enticingly seductive, or it can result in films which are abruptly alienating.

Of all her films, TOUTE UNE NUIT is one of the most seductive. Set during one night, it's a series of vignettes, some no more than a glimpse of a few seconds, of people at night. People sitting in bars near closing time. People sitting at home, waiting. People walking at night. The sense of anticipation, of yearning, becomes palpable.

Some vignettes are longer, but all these stories are fragmented: we're not given a real beginning, though we are given a few endings. There is no real dialogue: we just see a few gestures, a little action, but that's all.

People alone in a bar, then noticing each other. Will they make some sort of contact? A little girl packing her little suitcase: is she running away? Where? It's like we're given the bits and pieces of a larger narrative, but we have to decide what these bits and pieces mean. And then there are those encounters. Someone waiting alone in an apartment, when another person finally arrives. Two people running into each other on the street. All the meetings, often culminating in a kiss, seem to distill the most intense romantic desires.

We want these strangers to find a way not to be alone, and that desire on our part creates a tension which is tactile and erotic. Of course, Akerman has populated her night world with highly attractive people, so we are in a fantasy world of desire. TOUTE UNE NUIT is one of the most romantic movies that i've ever seen; it's funny that Akerman's most famous movie, JEANNE DIELMAN, is a long movie composed of very lengthy takes, while this movie is relatively short, with sharply edited, staccato little scenes. TOUTE UNE NUIT is almost the antithesis of JEANNE DIELMAN, but it shows Akerman in a romantic mood which is filled with yearning, desire and affection.


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