Chantal Akerman

Les rendez-vous d’Anna

Les rendez-vous d’Anna

In one of Akerman’s most penetrating character studies, Anna, an accomplished filmmaker (played by Aurore Clément), makes her way through a series of European cities to promote her latest movie. Via a succession of eerie, exquisitely shot, brief encounters—with men and women, family and strangers—we come to see her emotional and physical detachment from the world.

Film Info

  • Chantal Akerman
  • Belgium, Germany, France
  • 1978
  • 127 minutes
  • Color
  • 1.66:1
  • French

Available In

Collector's Set

Eclipse Series 19: Chantal Akerman in the Seventies

Chantal Akerman in the Seventies

DVD Box Set

3 Discs

Ships Nov 9, 2018

$35.96

Les rendez-vous d’Anna
Cast
Aurore Clément
Anna Silver
Helmut Griem
Heinrich Schneider
Magali Noël
Ida
Hanns Zischler
Hanns Zischler
Lea Massari
Anna's mother
Jean-Pierre Cassel
Daniel
Credits
Director
Chantal Akerman
Producer
Alain Dahan
Cinematography
Jean Penzer
Screenplay
Chantal Akerman
Editing
Francine Sandberg
Art direction
Andre Fonteyne

From The Current

Eclipse Series 19: Chantal Akerman in the Seventies
Eclipse Series 19: Chantal Akerman in the Seventies

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 the experimental film scene in New York as by her own past…

By Michael Koresky

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Chantal Akerman, 1950–2015
Chantal Akerman, 1950–2015

We were saddened today to learn of the death of the great Chantal Akerman. Known most widely for her 1975 masterpiece, Jeanne Dielman, 23, Quai du commerce, 1080 Bruxelles, Akerman made precise, thoughtful, and aesthetically daring films—fiction fe…

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Explore

Chantal Akerman

Director, Writer

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. Influenced by the structural cinema she was exposed to when she came to New York from her native Belgium in 1970, at age twenty (work by artists like Michael Snow, Yvonne Rainer, and Andy Warhol), Akerman made her mark in the decade that followed, playing with long takes and formal repetition in her films, which include the architectural meditation Hotel Monterey (1972), the obsessive portrait of estrangement Je tu il elle (1975), the autobiographical New York elegy News from Home (1976), and the austere antiromance Les rendez-vous d’Anna (1978). Her greatest achievement to date, however, is her epic 1975 experiment Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, a hypnotic study of a middle-aged widow’s stifling routine widely considered one of the great feminist films. Such recent Akerman films as the Proust adaptation La captive (2000) and the documentary on Mexican-to-U.S. immigration From the Other Side (2002) prove that she retains her daring, vital voice.