A Nos Amours seems like a pretty cool film club to us.
Here is their site: http://www.anosamours.co.uk
We were sent this press release about the next screening taking place at the ICA on Thursday 28th November at 7pm:
A Nos Amours continues a retrospective of the complete film works of Chantal Akerman, with two short films and her breakthrough feature length film of 1972 Je Tu Il Elle.
Chantal Akerman's work is superficially wide-ranging - documentary and narrative, film and video, 16mm and 35mm, cinema and gallery - and yet her work is characterised by an uncompromising and singular sense of purpose. What Akerman shows us, by means structural and otherwise, is nothing less than the human condition, a series of astonishing mediations on loneliness and anxiety, alienation and discomfort. She began inspired by Godard, but quickly established a startling and provocative project that is among the very greatest in European film. As J. Hoberman has said:
"Comparable in force and originality to Godard or Fassbinder, Chantal Akerman is arguably the most important European director of her generation".
La Chambre (1972, 16mm, 11', mute)
Shot in New York, influenced perhaps by Michael Snow and Andy Warhol: serene, formal, and yet very beautiful. A short film consisting entirely of shots of the interior of a small apartment.
Le 15/8 (1973, 16mm, 42')
Returning to Europe from New York, working with a Finnish friend of Akerman's early collaborator Samy Szlingerbaum, Akerman explores a hinterland between documentary, fiction and unmediated duration. The film takes place over a day and follows the thoughts of a young Finnish woman in a Parisian apartment.
Je Tu il Elle (16mm, 1975, 86')
A set of minimalist constraints create a space for a devastating exploration of utter dissociation. Akerman’s first feature film, starring Akerman herself, documents a young woman’s road trip and love affairs.
Here is their site: http://www.anosamours.co.uk
We were sent this press release about the next screening taking place at the ICA on Thursday 28th November at 7pm:
A Nos Amours continues a retrospective of the complete film works of Chantal Akerman, with two short films and her breakthrough feature length film of 1972 Je Tu Il Elle.
Chantal Akerman's work is superficially wide-ranging - documentary and narrative, film and video, 16mm and 35mm, cinema and gallery - and yet her work is characterised by an uncompromising and singular sense of purpose. What Akerman shows us, by means structural and otherwise, is nothing less than the human condition, a series of astonishing mediations on loneliness and anxiety, alienation and discomfort. She began inspired by Godard, but quickly established a startling and provocative project that is among the very greatest in European film. As J. Hoberman has said:
"Comparable in force and originality to Godard or Fassbinder, Chantal Akerman is arguably the most important European director of her generation".
La Chambre (1972, 16mm, 11', mute)
Shot in New York, influenced perhaps by Michael Snow and Andy Warhol: serene, formal, and yet very beautiful. A short film consisting entirely of shots of the interior of a small apartment.
Le 15/8 (1973, 16mm, 42')
Returning to Europe from New York, working with a Finnish friend of Akerman's early collaborator Samy Szlingerbaum, Akerman explores a hinterland between documentary, fiction and unmediated duration. The film takes place over a day and follows the thoughts of a young Finnish woman in a Parisian apartment.
Je Tu il Elle (16mm, 1975, 86')
A set of minimalist constraints create a space for a devastating exploration of utter dissociation. Akerman’s first feature film, starring Akerman herself, documents a young woman’s road trip and love affairs.
RSS Feed