Making of Tomorrow We Move

A portrait of pianist Alfred Brendel performing and analysing Franz Schubert's final three sonatas.

A lonely young widow lives with her son following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.

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.

A filmed adaptation of Rose Leiman Goldemberg’s play, based on Sylvia Plath’s intense correspondence with her mother Aurelia, from the time the poet was in university until her suicide. Delphine Seyrig and her niece Coralie Seyrig recite Sylvia and Aurelia’s letters to the audience directly.

Impersonal and beautiful images of Akerman's life in New York are combined with letters from her loving but manipulative mother, read by Akerman herself.

"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

Detached filmmaker Anna Silver arrives in Germany to show her latest film; over the course of some days, she encounters a variety of new and old faces, some of whom make personal revelations to her to little affect.

In this incisive dispatch from the newly collapsed Soviet empire, bullet holes from WWII still pockmark the old stone buildings. Akerman journeys from East Germany to Moscow between the late summer and winter of 1993 ('while there’s still time'), chronicling in deliberate tracking shots, circular pans, and domestic tableaux yet another moment of radical upheaval in the 20th-century, the faces and bodies of Poles, Ukrainians, Germans, and Russians weighed down with obedient resignation and uncertainty.

A compilation of 30 French filmmakers, Alain Resnais and Jean Luc Godard among them, who use film to make a plea on behalf of a political prisoner. Jean Luc Godard and Anne Marie Mieville's film concerns the plight of Thomas Wanggai, West Papuan activist who has since died in prison. The short films were commissioned by Amnesty International.

Following over two dozen different individuals in the almost wordless atmosphere of a dark night in a Brussels town, acceptance and rejection in the realm of romance is examined.

Janine Bazin and André Labarthe approached Chantal Akerman about making a film for the series; eagerly, Akerman proposed a number of filmmakers—but all had already been done. So she suggested…“How about me?” Akerman creates a fascinating self-portrait that takes us through her career, aided by critics Emmanuel Burdeau and Jean Narboni and filmmaker Luc Moullet.

A woman suffers a subdued psychological breakdown in the wake of a devastating breakup.

In a lively shopping center, proprietors and customers are bustling, including three women vying for a man's heart with song and dance.

Belgian director Chantal Akerman struggles to overcome her laziness in the name of making a film about the subject.

Chantal Akerman meets with elderly Jewish women in Paris, all of them survivors of the Shoah, and listens to their family stories. Between interviews, Akerman's mother Natalia speaks of her own family. Made for a French miniseries on grandmothers.

A burnt-out New York psychoanalyst exchanges apartments with a Parisian woman. When his patients arrive, they talk to her and then pay. He returns early and becomes a patient as well.