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Chantal Akerman from the Other Side

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Chantal Akerman from the Other Side Chantal Akerman From the Other Side 28 giugno – 23 luglio 2017 28 June – 23 July 2017 livello / level 0 / Videogallery 2 # © Raymond Depardon / Magnum Photos / Contrasto Chantal Akerman. From the Other Side A cura di Giovanna Fazzuoli e Giulia Magno Curated by Giovanna Fazzuoli and Giulia Magno Artista, filmaker, sceneggiatrice, scrittrice e at- Artist, filmmaker, screenwriter and actress Chan- trice, Chantal Akerman è riconosciuta dalla cri- tal Akerman has been considered by critics as one tica come una tra le voci cinematografiche of the most interesting filmmakers worldwide ever più interessanti nel panorama internazionale. since the 70s – the New York Times defined her film, Già a partire dagli anni Settanta il New York Ti- entitled Jeanne Dielman, 23, quai du Commerce, mes definiva il film Jeanne Dielman, 23, quai du 1080 Bruxelles (1975) as “the first masterpiece of Commerce, 1080 Bruxelles (1975) “il primo ca- the feminine in the history of the cinema”. polavoro femminile nella storia del cinema”. Her production, which inspired directors such as Fonte d’ispirazione per registi quali Gus Van Sant, Gus Van Sant, Todd Haynes and Sofia Coppola, tran- Todd Haynes e Sofia Coppola, la sua produzione ha scended the canonic frontiers of artistic disciplines superato i confini tra le diverse discipline artisti- and explored the main genres of cinema history, from che attraversando i principali generi della storia del Nouvelle Vague to New American Cinema. During her cinema, dalla Nouvelle Vague al New American Ci- career, which lasted almost half a century, Akerman nema. Nell’arco di una carriera durata quasi mezzo produced experimental shorts, essay films, docu- secolo, Akerman ha prodotto cortometraggi speri- mentaries, musicals, film adaptations, travelogues, mentali, essay film, documentari, musical, adatta- comedies and works inspired by dancing, sculpture menti cinematografici, travelogue, commedie e and music. opere ispirate alla danza, alla scultura e musica. L’intero corpus delle sue opere è permeato da quel- The entire body of work of Akerman is permeated by lo che lei stessa definisce esprit de contradiction, what she herself described as an esprit de contra- ossia lo spirito degli opposti che convivono nel diction, namely the spirit of the opposites that coex- suo lavoro: caos e ordine, realtà e finzione, parole ist in her work: chaos and order, reality and fiction, e immagini, confinamento e viaggio, autobiografia e words and images, isolation and travel, autobiogra- narrazione collettiva. phy and collective narration. Moreover, she was one E’ inoltre una delle prime filmaker a unire il concetto of the first filmmakers who joined the black box of di black box della sala cinematografica al withe cube movie theatres to the white cube of museum space, dello spazio museale, dando vita così a installazioni thereby giving life to complex installations such as complesse come quella al Walker Art Center nel the one hosted by the Walker Art Centre in 1995, 1995, quando il lungometraggio D’Est (1993) è stato which saw her break down her film D’Est (1993) mandato in onda su ventiquattro monitor. Il viaggio and project it on twenty-four screens. However, the che conduce Akerman dal cinema alle installazioni journey leading Akerman to film-based installations film-based consiste anche in una nuova esperienza also consists in a new approach to the experience of della percezione. Da un’analisi dei suoi primi lavori, perception. A study of her first works, indeed, shows infatti, emerge quanto il tempo dell’osservazione how the time of observing and that of filming are both e quello della ripresa siano oltre che funzionali functional to each other and constantly intertwined. anche costantemente intrecciati l’un l’altro. Chantal Akerman. From the Other Side will show the Chantal Akerman. From the Other Side ripercorre salient moments of the director’s artistic career – i momenti salienti della carriera artistica della from her debut short entitled Saute ma Ville (1968) regista - dal cortometraggio d’esordio Saute ma to her last work, called Home Movie (2015) - and, Ville (1968) all’ultima opera No Home Movie (2015) other than topics such as female identity, exile, no- - e oltre ai temi quali l’identità femminile, l’esilio, madism, and the idea of frontier, it will also tell the il nomadismo e l’idea di frontiera, racconta anche story of how the relationship between cinema and la rivoluzione del rapporto tra cinema e spettatore, viewers, who the director wanted to be free, active il quale per la regista deve essere libero, attivo e and aware, was revolutionised. consapevole. nella reception durante il tramonto, volge al termine quando dal tetto dell’edificio appare lo skyline di New York irradiato dalle prime luci dell’alba. This fascinating minimalist masterpiece records the evanescent presences inhabiting a crumbling Upper West Side hotel in New York by exploring its corridors, rooms and lifts. The mysterious reflection on architecture, which begins in the reception at sundown, ends on the building roof, thereby showing the New York skyline at dawn. Saute ma ville 1968, Belgio / Belgium 13’, bianco e nero / black and white Restauro a cura della Cinémathèque Royale de Belgique Digital restoration by Cinémathèque Royale de Belgique 28 giugno /June - 2 luglio / July Martedì, mercoledì, giovedì, venerdì, sabato, domenica h. 11.05, Giovedì 19.00 Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday h. 11.05 a.m. Thursday 7.00 p.m. Realizzato all’età di diciotto anni, il cortometraggio di esordio di Chantal Akerman si configura come il La Chambre ritratto di una adolescente che, nel radicale rifiuto 1972, Belgio / Belgium del mondo in cui vive, fa esplodere nello spazio 11’, colore / colour intimo del suo appartamento tutto ciò che fuori la Restauro a cura della Cinémathèque Royale de Belgique opprime. Digital restoration by Cinémathèque Royale de Belgique Chantal Akerman’s debut short, which she made 28 giugno / June - 2 luglio / July when she was eighteen, is the portrait of an ado- Martedì, mercoledì, giovedì, venerdì, sabato, domenica h. 13.30, lescent girl who utterly rejects the world where she Giovedì 19.30 Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday h. 1.30 lives and blows up everything that oppresses her in- p.m., Thursday 7.30 p.m. side the intimate space provided by her flat. Interamente girato nello spazio dell’appartamento di SoHo in cui Akerman abitò negli anni della sua permanenza a New York, La Chambre fonde il for- malismo di Michael Snow con il minimalismo degli ‘anti-film’ di Andy Warhol. La regista restringe il campo d’indagine estetica e concettuale a un uni- co codice del linguaggio filmico: la panoramica cir- colare. Questo esperimento formale è il primo film del regista realizzato a New York. La Chambre, which was entirely shot in the SoHo flat where Akerman lived during her New York stay, mixes Michael Snow’s formalism with the minimal- Hôtel Monterey ism of Andy Warhol’s anti-films. The director narrows 1972, Belgio / Belgium the scope of her conceptual and aesthetic analysis 65’, colore / colour to a single filmmaking the circular pan. This was the Restauro a cura della Cinémathèque Royale de Belgique formal experiment that the artist carried out in New Digital restoration by Cinémathèque Royale de Belgique York. 28 giugno / June - 2 luglio / July Martedì, mercoledì, giovedì, sabato, domenica h. 12.00 Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday h. 12.00 p.m. Questo affascinante capolavoro minimalista registra le presenze evanescenti che popolano un fatiscente hotel dell’Upper West Side, New York, esplorandone i corridoi, le camere, gli ascensori. La misteriosa meditazione sull’architettura, iniziata Je tu il elle presenta una struttura tripartita incen- trata sullo studio della mutabilità dei confini d’iden- tità e sulla sessualità femminile. Akerman veste il ruolo della protagonista (Je) che, confinata nel suo appartamento, scrive ossessivamente una lettera d’amore (tu), nutrendosi di solo zucchero. Rom- pendo l’isolamento autoimposto, si imbarca sul ca- mion di uno sconosciuto (il) per unirsi, infine, a una misteriosa amante (elle). Je tu il elle has a tripartite structure revolving around the mutability of female identity and sexuality. Le 15/8 Akerman is the main character (Je), who obsessive- ly writes a love letter (tu) inside her flat, eating only Chantal Akerman e / and Samy Szlingerbaum sugar. After breaking out from her self-imposed iso- 1973, Belgio / Belgium lation, she hops onto a lorry driven by a stranger (il) 42’, bianco e nero / black and white and finally joins a mysterious lover (elle). Restauro a cura della Cinémathèque Royale de Belgique Digital restoration by Cinémathèque Royale de Belgique 28 giugno / June - 2 luglio / July Martedì, mercoledì, giovedì, venerdì, sabato, domenica h. 14.10 Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday h. 2.10 p.m. In un appartamento di Parigi, una giovane donna finlandese (Chris Myllykoski) è ripresa in un monologo incessante nel quale condivide senza filtri i propri pensieri più ordinari. Tra cinema documentario, narrativo e sperimentale, il film minimalista di lunga durata trasforma frammenti di una giornata d’agosto in uno studio sullo stato d’inquietudine. News from Home Inside a Paris flat, a young Finnish woman (Chris Myl- 1976, Belgio - Francia / Belgium - France lykoski) is filmed during an uninterrupted monologue 89’, colore / colour where she shares her most ordinary thoughts, with- Restauro a cura della Cinémathèque Royale de Belgique out filters. Akerman’s long film, which is at the cross- Digital restoration by Cinémathèque Royale de Belgique roads of documentary, narrative and experimental 28 giugno /June - 2 luglio / July cinema, turns the fragments of an August day into a Martedì, mercoledì, giovedì, venerdì, sabato, domenica h. 17.00, Sabato h 20.00 study on the state of restlessness. Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday h. 5.10 p.m., Saturday 8.00 p.m.
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