Chantal Akerman at 64 – 2014
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One of the boldest cinematic visionaries of the past quarter century, the film-school dropout Chantal Akerman takes a profoundly personal and aesthetically idiosyncratic approach to the form, using it to investigate geography and identity, space and time, sexuality and religion.
Don’t Miss Chantal Akerman’s Study of Pina Bausch at Lincoln Center
What Akerman can’t express in words, she makes piercingly specific with her images.
Divine Delphine Seyrig as Jeanne Dielman
Jeanne Dielman understands what all the best works of cinema do: implication and occurrence are two different things. Where so many mediocre films deal in visual shorthand that merely suggests to us that certain events have happened, this one has its events actually take place. That this builds their importance far beyond any quick-cut battle for the very future of humanity might point toward an answer to the feminist question: these are domestic duties we’re watching, and the film treats them with a gravity that somehow goes beyond aesthetics. You could call its story tragic, but just by existing it demonstrates an artistic fact that’s sadder than anything going on in its content. By letting its content dictate its form — or rather, by letting its content and form exist in symbiosis — the film achieves what most films could if they did the same. But almost no film does.
Google mapping Jeanne Dielman 23 Quai de Commerce 1080 Bruxelles
Click to see large 
La Captive
Here was a review by Hoberman (scroll down)
Chantal Akerman’s La Captive is another sort of psycho-epistemological inquiry that asks: How can we know another?
Aurore Clement in Rendez Vous D’Anna (youtube)
Previous post (D’est, her photographs exhibition, Pina Bausch on youtube etc)