Babette Mangolte. © Fleur van Muiswinkel If the name Babette Mangolte doesn’t ring with the same familiarity as such storied French cinematographers as Raoul Coutard and William Lubtchansky, it’s not for lack of innovation or accomplishment. Born in Montmorot in 1941, Mangolte moved to New York in 1970 following a number of years as an assistant cinematographer and apprentice to director Marcel Hanoun. There she quickly integrated herself into the city’s burgeoning experimental cinema scene, befriending luminaries such as Jonas Mekas and Stan Brakhage, and soon after met a 20-year-old Chantal Akerman whom she proceeded to collaborate with on a series of groundbreaking works throughout the mid-70s. Influenced as much by structuralism as the films of the French New Wave, Mangolte and Akerman deftly utilized time and space as cinematic conduits to visually articulate themes of dislocation, alienation, and female autonomy. Their most celebrated work, the landmark feminist dispositif Jeanne Dielman,...
- 3/30/2017
- MUBI
Today's roundup on current goings on features a tribute to the work of the "King of Video Essays" (New York Times), Kevin B. Lee in Vienna, plus Stateside events: Wim Wenders's Wrong Move, Chantal Akerman's Là-bas, Lazar Stojanović’s Plastic Jesus, and disparate series devoted to the work of Andrew Noren, Gabriel Mascaro, Vincent Lindon, Saul Levine and Xie Jin. There's also Indian cinema in Austin, Palestinian work in Chicago and a video interview with Joseph Frank, co-director of Sweaty Betty. » - David Hudson...
- 4/15/2016
- Keyframe
Today's roundup on current goings on features a tribute to the work of the "King of Video Essays" (New York Times), Kevin B. Lee in Vienna, plus Stateside events: Wim Wenders's Wrong Move, Chantal Akerman's Là-bas, Lazar Stojanović’s Plastic Jesus, and disparate series devoted to the work of Andrew Noren, Gabriel Mascaro, Vincent Lindon, Saul Levine and Xie Jin. There's also Indian cinema in Austin, Palestinian work in Chicago and a video interview with Joseph Frank, co-director of Sweaty Betty. » - David Hudson...
- 4/15/2016
- Fandor: Keyframe
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
BAMcinématek
“Chantal Akerman: Images Between the Images” continues with Night and Day on Friday, News from Home this Saturday, and, on Sunday, Golden Eighties and The Meetings of Anna.
Metrograph
“Welcome to Metrograph: A to Z” offers The Eight-Diagram Pole Fighter on Friday, Deux Fois on Saturday, and, this Sunday, three short films by Julie Dash.
BAMcinématek
“Chantal Akerman: Images Between the Images” continues with Night and Day on Friday, News from Home this Saturday, and, on Sunday, Golden Eighties and The Meetings of Anna.
Metrograph
“Welcome to Metrograph: A to Z” offers The Eight-Diagram Pole Fighter on Friday, Deux Fois on Saturday, and, this Sunday, three short films by Julie Dash.
- 4/15/2016
- by Nick Newman
- The Film Stage
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Bicycle Thieves (Vittorio De Sica)
Hailed around the world as one of the greatest movies ever made, the Academy Award–winning Bicycle Thieves, directed by Vittorio De Sica, defined an era in cinema. In poverty-stricken postwar Rome, a man is on his first day of a new job that offers hope of salvation for his desperate family when his bicycle, which he needs for work, is stolen. With his young son in tow, he sets off to track down the thief.
Bicycle Thieves (Vittorio De Sica)
Hailed around the world as one of the greatest movies ever made, the Academy Award–winning Bicycle Thieves, directed by Vittorio De Sica, defined an era in cinema. In poverty-stricken postwar Rome, a man is on his first day of a new job that offers hope of salvation for his desperate family when his bicycle, which he needs for work, is stolen. With his young son in tow, he sets off to track down the thief.
- 3/29/2016
- by TFS Staff
- The Film Stage
Few filmmakers have seen a spike in attention over these past six months quite like Chantal Akerman, albeit for the worst of reasons. Following her passing in October, now widely believed to have been by her own hand, the Belgian icon’s cinema is more widely than ever recognized for the genius of its many approaches to form. And so while we’re reflecting so heavily for, yes, the worst of reasons, now might also be the best time for an in-depth documentary about what she gave us.
I Don’t Belong Anywhere: The Cinema of Chantal Akerman seeks to do just that, with director Marianne Lambert (Akerman’s former unit production manager) following the filmmaker during the making of No Home Movie while stringing together a discussion of the many films in her oeuvre and the numerous places they span — Paris, Brussels, Israel, and New York among them. The...
I Don’t Belong Anywhere: The Cinema of Chantal Akerman seeks to do just that, with director Marianne Lambert (Akerman’s former unit production manager) following the filmmaker during the making of No Home Movie while stringing together a discussion of the many films in her oeuvre and the numerous places they span — Paris, Brussels, Israel, and New York among them. The...
- 3/22/2016
- by Nick Newman
- The Film Stage
The alarm clock cries in my bedside table. 8am. Right, here we go. Grab clothes for yet another day, don’t forget the body soap, the moisturizer and the black mascara and off I go to start my daily ritual lively practiced inside my tiny toilet. Repetitive motions are evoked…teeth are washed, hair is brushed, boot laces are entwined around my unreliable feet, eggs are scrambled in the tormented pan, coffee is brewed, lights are shut, doors are locked, and a cigarette is delightedly lit—all as if I was skimming through the prologue of a novel I have lazily read too many times before. My feet move to the rhythm of the rain incessantly falling on the grey pavement and my bones fear the unpredictability of what may come in the following hours, but I never stop. I never do. (…) The ritual has somehow turned into tradition and...
- 12/31/2015
- by Susana Bessa
- MUBI
In light of the tragic death of filmmaker Chantal Akerman, the Montreal International Documentary Festival (Ridm) will pay tribute to the distinguished member of the cinema community. Here is the press release:
Her final film, No Home Movie, presented in the official competition at the Locarno Festival this summer, will be screened at this November’s Ridm, as will a portrait of the director, I Don’t Belong Anywhere – Le cinéma de Chantal Akerman, directed by Marianne Lambert, who will attend the festival. Festivalgoers will also have the chance to rediscover Akerman’s De l’autre côté, her 2002 documentary about Mexican migrants.
In No Home Movie, Belgian filmmaker Chantal Akerman, whose previous films include Je, tu, il, elle (1975), Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) and La captive (2000), filmed a portrait of her now deceased mother. Echoing News From Home (1977), in which the director filmed New York while reading letters, in voiceover,...
Her final film, No Home Movie, presented in the official competition at the Locarno Festival this summer, will be screened at this November’s Ridm, as will a portrait of the director, I Don’t Belong Anywhere – Le cinéma de Chantal Akerman, directed by Marianne Lambert, who will attend the festival. Festivalgoers will also have the chance to rediscover Akerman’s De l’autre côté, her 2002 documentary about Mexican migrants.
In No Home Movie, Belgian filmmaker Chantal Akerman, whose previous films include Je, tu, il, elle (1975), Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) and La captive (2000), filmed a portrait of her now deceased mother. Echoing News From Home (1977), in which the director filmed New York while reading letters, in voiceover,...
- 10/13/2015
- by Ricky Fernandes
- SoundOnSight
The fall festival rush is upon us. Locarno is currently ramping up. Venice has released their line-up and Thom Powers and the Toronto International Film Festival team have dropped a bomb with a previously unannounced new feature from powerhouse docu-provocateur Michael Moore. It is truly a miracle that the production of a film such as Moore’s upcoming Where To Invade Next (see still above) managed to go completely undetected by the filmmaking community until it was literally announced to world premiere at one of the largest film festivals in the world. Programmed as a one of the key films in the Special Presentations section at Tiff, the film sees Moore telling “the Pentagon to ‘stand down’ — he will do the invading for America from now on.” Also announced to premiere at Tiff was Avi Lewis’ This Changes Everything, which has slowly been rising up this list, as well as...
- 8/7/2015
- by Jordan M. Smith
- IONCINEMA.com
Jerusalem exhibition is multi-layered immersive e
Belgian-born, Us-based filmmaker and artist Chantal Akerman will open her desert-inspired installation De la mer(e) au désert at the Mamuta Art and Media Centre on Tuesday evening at Hansen House, a former leper colony-turned-cultural centre close to the Jerusalem Cinématheque.
Based on a trip to the town of Arad on the border of the Negev and Judean deserts, the multi-layered De la mer(e) au désert installation features several moving tracking shots projected onto the Jerusalem stone walls of the vaulted basement of building.
Interviewed by Screen on the eve of the installation’s opening as she was setting up, Akerman described the installation as an immersive experience that is meant to disorientate the visitor, giving them the impression they are travelling through a non-specific desert setting at high speed.
“I wanted to play with this specific space,” she said. “It’s a very physical experience that I am trying...
Belgian-born, Us-based filmmaker and artist Chantal Akerman will open her desert-inspired installation De la mer(e) au désert at the Mamuta Art and Media Centre on Tuesday evening at Hansen House, a former leper colony-turned-cultural centre close to the Jerusalem Cinématheque.
Based on a trip to the town of Arad on the border of the Negev and Judean deserts, the multi-layered De la mer(e) au désert installation features several moving tracking shots projected onto the Jerusalem stone walls of the vaulted basement of building.
Interviewed by Screen on the eve of the installation’s opening as she was setting up, Akerman described the installation as an immersive experience that is meant to disorientate the visitor, giving them the impression they are travelling through a non-specific desert setting at high speed.
“I wanted to play with this specific space,” she said. “It’s a very physical experience that I am trying...
- 7/15/2014
- ScreenDaily
When discussing Almayer’s Folly, Chantal Akerman actively resists crediting the source material. Joseph Conrad’s first novel is set in Malaysia at the end of the 19th century and is a grotesque portrait of a young Dutch trader driven to madness by his own foolishness and avarice. A contemporary, sympathetic reading of the novel might commend it for its critique of the dehumanizing tendencies of colonialism, both on the colonized and the colonizer, but Akerman goes a few steps further. The film is less an adaptation than a loose, dream-like reimagining of its central conflict between a European man, his Asian wife, and their mixed-race daughter. Like Jean Rhys’s novel, Wide Sargasso Sea, which foregrounds the racist assumptions in Jane Eyre by giving life and a history to Charlotte Bronte’s exotic “madwoman in the attic,” Akerman rebalances the weight of Conrad’s narrative and in doing so finds—surprisingly,...
- 10/23/2011
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.