Portrait of a Lazy Woman

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.

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.

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.

"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

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.

Presented in 2 parts, this 83 minute piece documents Wieder-Atherton's idea to do a set of pieces from across central and eastern Europe, including Russia. Some weren't originally written for cello, but she had them transcribed. Some were songs for voices, which goes with Wieder-Atherton saying in an earlier film she made with Chantal Akerman that she aspires to play the cello in a way that it carries the specificity of emotion of the human voice. She explains at the beginning of both parts how she feels each country in the region has it's own personality expressed in its music, coming from its individual history and culture, but that each land in the area is also 'impregnated' as she puts it, by the others, so there are certain elements that run throughout.

Several young men and women arrive one after the other at Hôtel des Acacias, full of hope, desire and vitality. In the bustle of this hotel, everyone is looking for love. Hôtel des Acacias was an exercise guided in 1982 by Chantal Akerman at Belgium’s INSAS audio-visual college.

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.

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

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

Akerman films her mother Natalia, an elderly woman of Polish origin, in her Brussels apartment. For two hours, we will see them eating, chatting and sharing memories, sometimes accompanied by Sylvaine, Chantal's sister. Also, and to show how small the world has become, Chantal remains in contact with her mother at other times of the year via Skype from lands as far away from Belgium as Oklahoma or New York.

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.

Chantal Akerman followed famous Choreographer Pina Bausch and her company of dancers, The Tanzteater Wuppertal, for five weeks while they were on tour in Germany, Italy and France. Her objective was to capture Pina Bausch's unparalleled art not only on stage by behind the scenes.