1973 film by Chantal Akerman

8月15日，在巴黎，一个年轻的芬兰女孩在一间公寓里感到无聊。

Since the 1980s, famed cellist Sonia Wieder-Atherton has been present in much of Chantal Akerman’s work, whether through her numerous collaborations soundtracks, or as a protagonist (as in Rue Mallet-Stevens, 1986), or in this case, as the subject of an extended documentary portrait. The film begins with a voiceover from Akerman, describing and situating her subject, after which Wieder-Atherton takes over the narrative, sitting before the camera for an extended presentation of her life and art. Wieder-Atherton then performs some short pieces by Claudio Monteverdi, Luciano Berio, Leos Janacek, Johannes Brahms and Franz Schubert, either solo or accompanied by a small ensemble. As well as insights into an artist, this film offers a precious cinematic moment of listening.

"Au fond c’est un hommage a Godard.” ——CA

"A man stands amid unpacked boxes in his new home, delivering an extended monologue on indecision and dislocation. This rarely seen, overlooked gem created by Akerman for television explores the quotidian crises and profound feelings of alienation that run through her work." - BAM

Superbia — The Pride is the first of the Seven Deadly Sins.
The introduction is made thorugh early allegorical forms and figures (triumphal procession, dance of death, Baroque tragedy etc.) The triumphal procession of the giant haystack as a symbol of human vanities becomes a military parade of abrupt, functional and arrogant gestures. The most diverse musical fragments and rhythms intone the montage of details in the staged triumphal procession, juxtaposed with documentary images, including marches, ticker-tape parades and military review.

Chantal Akerman was commissioned by Visions to make this short film for £20,000. It was first shown on 21 November 1984, on Channel 4. Akerman herself plays the role of a director visiting Hollywood to find financing from an uncle she hardly knows. Very little goes to plan… Also stars Aurore Clement and Colleen Camp.

Jack and Julie live in a bare flat in Paris. At night, Jack drives a taxi while Julie wanders around the city, and in the day they make love. One day Julie meets Joseph, the daytime driver of the taxi, and soon Julie is spending her nights with Joseph and her days with Jack.

All of the time and effort put forth to stage a musical is chronicled here in this bright and funny French outing. The story is set at a shopping mall where people audition for an upcoming show. Afterwards, they are seen going through the grueling routines of learning the music and rehearsing.

我们能否在空间和时间上扎根？我们如何看待以色列而不陷入二元对立？动荡之后，我们该如何生活？有没有可能的图像？直接的图像？还是必须通过屏幕？什么屏障？什么屏幕？这就是这部关于以色列的纪录片的主题。

这部节奏极其缓慢的纪录片电影需要观众的极大耐心，尤其是开始40分钟无论如何都对观众构成一种严酷考验，在这四十分钟里只有15个镜头。正如她的剧情片《迷惑》(The Captive)的风格一样，这种长镜头正是艾克曼个人的标志。影片中被采访者都是和那些由于试图越过美国和墨西哥边境的死亡者有关系的人。这位1950年出生于比利时布鲁塞尔的女导演，说自己一生都在阅读普鲁斯特，并且和他有着一种特别的亲近感。艾克曼的出现给“独立制片”带来新的含义，她试图制作纯粹个人、纯粹独创和艺术的电影，她的作品总是将这三种东西融为一体，身体、女性和电影本身的历史。

一个是纽约拥有舒适大房子的事业成功的心理医生，一个是巴黎乱糟糟小屋里糊里糊涂却心地善良的舞蹈演员，他们都厌倦了各自的生活。一次偶然机会，他们交换了一下角色，世界有时就是浪漫的不可思议，爱情就这么自然地闯进了原本陌生的两个人的世界里。

A vibrant account of immigrant Jewish life (and loss) as told by denizens of Manhattan’s Lower East Side (including The Living Theatre cofounder Judith Malina).

英国《视与听》杂志2015年度十佳电影的NO.6，也是比利时女导演香特尔•阿克曼的遗作，一部关于去世的母亲的纪录片。

这部早期的实验电影，完成于1972年。长达一小时左右Babette Mangolte的摄影静寂而流动的勘视着纽约一家廉价旅馆的门厅，电梯，走廊与房间。那些偶或瞥见的独居者们，使整体孤独与静匿的气氛徒添神秘。比较起艾克曼的其他电影，这部早期影片更显示出了EDWARD HOPPER对她的重要影响。

讲述一名母亲在丈夫死后带着钢琴、行李和家具搬来与女儿同住。正埋首写色情小说的女儿因宁静生活不再而没有了创作灵感。居住环境变得挤逼，决定卖房子搬大屋。因而出现一连串来看房子的人，他们都是梦想搬家的人，亦各有自己的趣事。轻松有趣的情节由始展开。

就像我看过的许多法语电影一样，这部电影更关注的是展现一个相当现实的生活片段，而不是创造一个标准的故事弧。主角米歇尔花了一个小时和一些新老朋友讨论她对生活的看法，试图了解自己对自己在世界上的地位和性取向的感受。

富家子弟西蒙（Stanislas Merhar 饰）深深爱着自己的女友艾瑞安娜（Sylvie Testud 饰），他的爱甚至到了偏执的地步。他要掌握艾瑞安娜每天的动向、说过的话、接触的人，任何感情破裂的蛛丝马迹都令西蒙痛苦不已。
从一卷海滩度假的录像带上，西蒙发现女友和身旁的女孩轻声耳语，这个画面成为他痛苦之源。她们说了什么？她们是什么样的关系？她对我的感情如何？这一切都令西蒙痛不欲生，他不断追寻着自己脑中的幕后真相，而同样深爱着他的艾瑞安娜默默地接受这一切……