Chantal Akerman

Filmmaker Chantal Akerman documents the life of her mother Natalia Akerman, a Polish immigrant and survivor of Auschwitz.

A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet, but something happens that changes her safe routine.

Impersonal and beautiful images of Akerman's life in New York are combined with letters from her loving but manipulative mother, read by Akerman herself.

'Je' is a girl voluntarily lock up in a room. 'Tu' is the script. 'Il' is a lorry driver. 'Elle' is the girlfriend.

A look at life in Eastern Europe after the collapse of the Soviet Union.

Director Anna traverses Europe for film events, encountering strangers, family, and a Polish Jewish refugee friend, listening to their personal stories. The aftermath of war persists throughout her journey across the continent.

A young girl shuts herself away in her apartment and goes about her business in a strange way, as she wastes the night in her apartment.

An adaptation of Proust's "La Prisoniere" (book five of "Remembrance of Things Past"). Set in Paris, France, it is a serious tale of a tragic and dysfunctional love.

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.

A documentary look at the fate of Mexicans who cross the border into the United States.

A psychoanalyst in NYC exchanges apartments with a woman in Paris. When his patients show up, they talk to her and then pay. He returns early to NYC and becomes a patient.

Following over two dozen different people in the almost wordless atmosphere of a dark night in a Brussels town, Akerman examines acceptance and rejection in the realm of romance.

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 Akerman is sitting on the bed, motionless first, then busy doing something (peeling an orange, eating an orange, etc.). When she is last seen she yawns and lies down on her bed. The camera continues panning but after 10 minutes and 21 seconds the film comes to an end and she can't be seen asleep.

Employees and clients of a commercial gallery only live for love; they dream it, proclaim it, sing it and dance it. Experience the encounters, reunions, passions and disappointments of a malicious chorus of girls and a group of idle boys.

The tale of an Occidental merchant whose dreams of riches for his beloved daughter collapse under the weight of his own greed and prejudice.

Akerman spends a month in Tel Aviv, in an apartment by the sea, contemplating her family, her Jewish identity and her childhood.

I DON'T BELONG ANYWHERE: THE CINEMA OF CHANTAL AKERMAN explores some of the Belgian filmmaker's 40 plus films, and from Brussels to Tel Aviv, from Paris to New York, it charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shared with Marianne Lambert her cinematic trajectory, one that never ceased to interrogate the meaning of her existence. And with her editor and long-time collaborator, Claire Atherton, she examines the origins of her film language, and aesthetic stance.

Charlotte is single. She tries to write erotic books to survive without her mind being in the least absorbed by eroticism or desire.

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 of the taxi, and soon Julie is spending her nights with Joseph and her days with Jack.

A documentary examining the effect of a man dragged to death on the residents in Jasper, Texas.

This is a making of a musical, with Chantal Ackerman behind and in front of the camera. It is mostly a collection of clips, talks, directions, and lectures, with the camera capturing the whole adventure.

A semi autobiographical look at a young woman, like the director herself, growing up in Belgium in the heady era of the late 1960s.

What constitutes a deadly sin today? Seven of the world's best-known women directors produce their own version of celluloid sin in this omnibus film.