• United States
  • 1972
  • 62 minutes
  • Color
  • 1.33:1
  •  

Under Chantal Akerman’s watchful eye, a cheap Manhattan hotel glows with mystery and unexpected beauty, its corridors, elevators, rooms, windows, and occasional occupants framed like Edward Hopper tableaux.

Cast

Film Essays

Eclipse Series 19: Chantal Akerman in the Seventies

By Michael Koresky January 20, 2010

A BELGIAN IN NEW YORK It was in the 1970s, the first decade of her career, that Belgian filmmaker Chantal Akerman created the works that would define her. Informed as much by her brushes with . . . Read more »

News

Looking with Babette Mangolte

February 23, 2010

Babette Mangolte, the French-born, New York–residing artist best known to Criterion viewers for her work as cinematographer on so many of Chantal Akerman’s films (including most of the director’ . . . Read more »


Press Notes

Press Notes: Chantal Akerman in the Seventies

January 27, 2010

Fans of our release of Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles last year can get a healthy second dose of Chantal Akerman with our new Eclipse Series 19: Chantal Akerman in the . . . Read more »


Clippings

Akerman in SoHo

January 21, 2010

To coincide with the release of the new Eclipse set Chantal Akerman in the Seventies, which features five extraordinary works made by the groundbreaking Belgian filmmaker in the first full . . . Read more »


Film Essays

Eclipse Series 19: Chantal Akerman in the Seventies

By Michael Koresky January 20, 2010

A BELGIAN IN NEW YORK It was in the 1970s, the first decade of her career, that Belgian filmmaker Chantal Akerman created the works that would define her. Informed as much by her brushes with . . . Read more »