The Criterion Collection's recent releases of Chantal Akerman's early work have given me my first opportunity to see many of the films that established her reputation. The most lauded—Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975); Je, tu, il, elle (1976); and News from Home (1977)—more than live up to their reputations, but it's the feature film she made immediately after News, Les rendezvous d'Anna(1978), that has most piqued my curiosity. This post will be the first in an on-going series of brief essays that attempt to describe why a particular sequence or image generates an unexpected frisson in the viewer, or how a particular moment represents in concentrated form the larger formal or thematic interests of the film. Pedantry aside, Girish recently provoked a fair amount of discussion about the "small, striking moments" in films. That's what I'm after here. We'll see if it works.
The Image In Question
This...
The Image In Question
This...
- 7/6/2010
- MUBI
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