Her mother’s letters come like intercepted radio transmissions, or echoes of prayers. In this state of relentless observation, pure receptivity, how could she not hear…
The specter of Alfred Hitchcock’s Vertigo (1958) looms large over Chantal Akerman’s The Captive (2000). At times, it’s to such an extent that it feels…
The playfulness of Chantal Akerman is, throughout her work, always nebulous. A smile, a laugh, a tall-standing stride: these do not signify transparent gestures, so…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with…
The title, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, gives away this film’s clinical fascination with the everyday by defining the central character only by where…