File:Chantal_Akerman_-_video_still_(cropped).jpg · Wikimedia Commons · See Wikimedia Commons
Chantal Akerman
Sign in to saveAlso known as Chantal Anne Akerman
Belgian film director, screenwriter, and educator (1950–2015)
Person · Open Library
- Works
- 21
Top works
- Chantal Akerman, autoportrait
- Les rendez-vouz d'Anna
- Oṭobiyografyah spiralit
- Una familia en Bruselas
- Annem Gülüyor
via Open Library + Wikidata
Film & TV
Directing · Brussels, Belgium
Chantal Anne Akerman (June 6, 1950 – October 5, 2015) was a Belgian film director, artist and professor of film at the City College of New York. Her best-known film is Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). Despite being categorised as such by others, Akerman frequently distanced herself from the feminist label, explaining, "when people say there is a feminist film language,…
Known for
- Chantal Akerman: Always on the Road — Self (archive footage)2024
- In Her Own Words — Self2024
- Autour de La Folie Almayer — Self2022
- Son chant — Self2021
- Morceaux de Cannes2021
- Delphine and Carole — Self (archive footage)2020
- Porto — (voice)2017
- No Home Movie — Self2016
- My Name is Chantal Akerman — Self2016
- But Elsewhere Is Always Better — Self2016
via TMDB
Music · MusicBrainz
- Type
- Person
- Gender
- Female
- Origin
- Belgium
- Active from
- 1950-06-06
- Active to
- 2015-10-05
via MusicBrainz · CC0
Listeners · Last.fm
- Listeners
- 67
- Total plays
- 110
Dubbed by the Village Voice as “arguably the most important European director of her generation,” Belgian filmmaker Chantal Akerman is known for making innovative films that have often earned comparison to those of Jean-Luc Godard or Rainer Werner Fassbinder. Although she rejects the label of “feminist filmmaker,” Akerman has become a guiding light in making films about the real issues faced by women, employing an experimental, deeply personal approach to her subjects. <a href="https://www.last.
Recent publications · Crossref
5 total works indexed
- Global burden of 369 diseases and injuries in 204 countries and territories, 1990–2019: a systematic analysis for the Global Burden of Disease Study 2019
· 2020 · cited 15,989x
- Global, regional, and national incidence, prevalence, and years lived with disability for 354 diseases and injuries for 195 countries and territories, 1990–2017: a systematic analysis for the Global Burden of Disease Study 2017
· 2018 · cited 10,999x
- Minimal information for studies of extracellular vesicles 2018 (MISEV2018): a position statement of the International Society for Extracellular Vesicles and update of the MISEV2014 guidelines
· 2018 · cited 9,664x
- Global burden of 87 risk factors in 204 countries and territories, 1990–2019: a systematic analysis for the Global Burden of Disease Study 2019
· 2020 · cited 8,020x
- UniProt: the Universal Protein Knowledgebase in 2023
· 2022 · cited 6,771x
via Crossref · CC0
Quotes
- “[On directing Jeanne Dielman aged 25.] It’s not very modest of me, but I’m still so proud I did it at that age.”
- “A lot of it came unconsciously. [...] When I wrote it, it ran like a river.”
- “Delphine Seyrig complained that there was so much detail she didn’t have to invent anything.”
- “[On the isms ("feminism, minimalism, structuralism") present in analysis of Jeanne Dielman.] I don’t think it’s minimalist, [...] I think it’s maximalist. It’s big! And if I did the film now I don’t know that it would be called feminist. It could have been done about a man, too. All those labels are a bit annoying [...] To name something is a way to possess it. I think it makes the film smaller. And O.K., maybe they are right, but they are never right enough.”
- “[A male client of the lead character, a part-time prostitute, is stabbed with scissors near the end of the film.] In most movies you have crashes or accidents or things out of the ordinary, so the viewer is distracted from his own life. [...] This film is about his own life.”
- “Jeanne has to organize her life, to not have any space, any time, so she won’t be depressed or anxious [...] She didn’t want to have one free hour because she didn’t know how to fill that hour.”
via Wikiquote · CC BY-SA
Key facts
- Born
- Chantal Anne Akerman , ( 1950-06-06 ) 6 June 1950, Brussels , Belgium
- Died
- 5 October 2015 (2015-10-05) (aged 65), Paris , France
- Burial place
- Père Lachaise Cemetery
- Occupations
- Film director, screenwriter, artist, and film professor
- Years active
- 1968–2015
- Notable work
- Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles Je Tu Il Elle Les Rendez-vous d'Anna News from Home
via Wikipedia infobox
~14 min read
Encyclopedic overview
Chantal Anne Akerman ( French: [ʃɑ̃tal akɛʁman]; 6 June 1950 – 5 October 2015) was a Belgian filmmaker, artist, and film professor at the City College of New York (2011–2015).
Akerman is best known for her films Je Tu Il Elle (1974), Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), and News from Home (1976). The second of these was ranked the greatest film of all time in Sight & Sound magazine's 2022 "Greatest Films of All Time" critics poll, making her the first woman to top the poll. The other two films also appeared in the same poll.
Excerpted from Wikipedia’s “Chantal Akerman” article, available under the CC BY-SA 4.0 licence.