Podcasts about Chantal Akerman

On this episode, we dial down the sharpness and celebrate cinematic blurriness.Going against the common assumption that blur is only for backgrounds, a new book by Professor Martine Beugnet explores the power and poetics of the blurred image. Originally published in French in 2017, Blur (2026) is part of the Cutaways series from Fordham University Press, where authors take a close look at one particular cinematic theme or motif.Martine has published widely on film theory and aesthetics since the early 2000s, with highly influential books such as  a monograph on director Claire Denis, Proust at the Movies, Cinema and Sensation: French Cinema and the Art of Transgression and dozens of articles, book chapters and edited collections. She is currently Professor in Visual Studies at Université Paris Cité but she spent more than a decade of the early part of her career teaching here at the University of Edinburgh.Martine tells Pasquale about the process of having her work translated and the appeal of the short format volume. She talks about her choice of film examples which range from mainstream Hollywood cinema to experimental film, silent cinema to contemporary works. Discussion then turns to the many ways in which filmmakers employ blur, whether it's to create ambiguity, to delineate a sense of character subjectivity or to shift back and forth in time.Films mentioned in the discussion include Vertigo (Alfred Hitchcock, 1958), The Ipcress File (Sidney J. Furie, 1965), La captive (Chantal Akerman, 2000), Son of Saul (László Nemes, 2015) and In Water (Hong Sang Soo, 2023).

This is a preview of a premium episode. To the listen to the full thing, head over to our Substack: https://designbetterpodcast.com/p/mason-currey At several points in his life, Eli imagined what it would take to become a full-time artist — a photographer or illustrator free from client work. What he didn't realize was that he already had an example of a different path right in front of him: his father, a practicing physician whose published poetry earned recognition from luminaries like John Ashbery. Mason Currey's most recent book explores these alternate paths. He's the author of Daily Rituals, the beloved book that catalogued the working habits of nearly 200 artists, writers, and composers. His new book, Making Art and Making a Living, goes deeper — into the financial realities, the schemes, the compromises, and the surprising strategies that creatives have used to keep their work alive across centuries. What he found is both humbling and strangely reassuring. Virginia Woolf had inherited investments. Kafka had insurance. Chantal Akerman had a cash register she skimmed from. John Cage had Italian game show winnings. And yet, running through all of it is the same question that Mason has been asking about his own life since the day he sat down to write a novel and couldn't: How am I going to pay for this? In this conversation, Mason walks us through the four funding models his book explores — family money, day jobs, patronage, and schemes — and what the lives of creatives from Kafka to Murakami can teach us about building a practice that actually lasts. Bio Mason Currey is the author of the Daily Rituals books, featuring brief profiles of the day-to-day working lives of more than 300 brilliant minds. His latest book, Making Art and Making a Living, was published by Celadon Books on March 31, 2026. Currey lives in Los Angeles and writes Subtle Maneuvers, a twice-monthly newsletter on the creative process. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. New premium subscriber benefit coming soon: we're launching a private Slack community…join now so you get access when it launches! And get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes. Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid

En este nuevo episodio de ELPODCAST, abrimos una vez más nuestra edición JOYAS para adentrarnos en la obra de una de las cineastas más influyentes, vanguardistas y rupturistas de la historia: la maestra Chantal Akerman. Analizamos a profundidad lo mejor de su filmografía, la radicalidad de sus decisiones formales y la inmensa intimidad que habita en sus espacios.Para este recorrido de análisis cinematográfico, estamos de manteles largos celebrando el gran regreso de Daniela García Juárez, crítica de cine y cineasta, quien aporta su aguda mirada a la mesa. Completando esta plática imperdible están Laura Uribe, Paco Marín y, desde la trinchera de APUNTESdeCINE, Felipe Flores quien les habla.Acompáñanos a redescubrir el tiempo y el encuadre a través de la lente de Akerman. ¡Dale play!

Lorna Simpson talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Simpson was born in Brooklyn, New York, 1960. Her conceptual approach to photography, and image-making more widely, reflects a desire to subvert the conventional framing of different forms of identity. From her early photo-text works to her recent paintings using found images, Lorna has explored the complexity of representation, and the visual and textual languages with which it is constructed. While she is deeply engaged with societal issues and historical inequities, and with the camera's time-honoured role as a documentary instrument, she blurs boundaries between reality and fiction, between witnessing and storytelling. The result is a practice that is precise and yet elusive, spare and yet capacious.She discusses how she achieves a balance between refusal and engagement to allow space for the viewer to enter her work. She talks about the role of the archive and history and how she navigates the use of existing images through various media. She reflects on her constant need to test herself through her work. She recalls the immense importance of discovering the work of David Hammons, how an exhibition of Francisco de Zurbarán at the Metropolitan Museum of Art in New York influenced her approach to image-making, and her connection to artists from Isaac Julien to Terry Adkins and Wangechi Mutu. She reflects on the importance of literature and writers including Robin Coste Lewis and Audre Lorde to her practice. And she discusses the vital importance of the films of Chantal Akerman. Plus, she gives insight into her life in the studio and answers our usual questions, including the ultimate: what is art for?Lorna Simpson, Punta della Dogana, Venice, until 22 November Hosted on Acast. See acast.com/privacy for more information.

Things got a little wonky this week, so we are re-releasing an episode that can keep with the theme of Women in Cinematography. So, this week, we are revisiting Chantal Akerman's 1975 film, "Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles" with guest Sam Meltzer. This film was shot by cinematographer Babette Mangolte. The film is truly an exemplary feminist cinematic work. With long lingering shots,  “Jeanne Dielman” brilliantly frames a woman's ever-shrinking existence. The production design keeps Jeanne's world relatively stark. But it is Mangolte's cinematography that plays with this idea of a stifling, sometimes suffocating, existence. When Sam was on, we discussed Jeanne Dielman through Chantal Akerman's direction, but it also makes sense this film had a woman as the director of photography. In lesser hands, Jeanne could have easily been reduced to her age, her profession, or her proximity to men. For a film that has minimal dialogue, the cinematography is critical to articulating so much about Jeanne, her life, and her inner workings. So, while we may not explicitly discuss Mangolte's work, it certainly permeates the conversation. Enjoy revisiting "Jeanne Dielman."You can follow SamLetterboxdYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

durée : 01:21:48 - Les Nuits de France Culture - par : Philippe Garbit - Par Luc Ponette - Avec les cinéastes : Agnès Varda, André Delvaux, Chantal Akerman et Dimitri Balachoff (programmateur de cinéma, critique et chef d'entreprise dans l'audiovisuel belge) - Réalisation Brigitte Rihouay - réalisation : Virginie Mourthé

Alors qu'il est presque permis de croire au retour du printemps, nous vous proposons un épisode avec Louise Hémon qui, avec L'Engloutie, signe le plus beau film de neige de ces derniers temps. Celle qui a filmé la neige blanche dans la nuit noire en haute altitude nous propose une cinéphilie glissante, avec des choses si fausses qu'elles en sont vraies (Et vogue le navire), des regards obliques (La Cienaga) voire carrément ambigus (Cruising). Puis elle nous ramène à la maison, sa maison préférée, La Maison des bois. Durant cet entretien, d'autres films éternels - du genre qui ne fondent pas -sont évoqués mais pour ça il faut écouter ! Inscrivez-vous à la newsletter en cliquant sur ce lienRejoignez-nous sur Substack : https://cinephilesdenotretemps.substack.com/ Bonne écoute ! I.PORTRAIT - 6'59 un décor / un paysage au cinéma ? - Et vogue le navire (Federico Fellini 1983) - 6'59 une communauté au cinéma ? - La Cienaga (Lucrecia Martel 2001) - 10'24 un corps au cinéma ? - Le sein dans Maternité éternelle (Kinuyo Tanaka 1955) - 16'01 II. LE CINÉMA DANS TOUS SES ÉTATS - 18'14 Un film à voir dans la pénombre ? - Toute une nuit (Chantal Akerman 1982) - 18'14 Un son sensuel au cinéma : Le vent de Dersou Ouzala (Akira Kurosawa, 1975) Une danse : la scène de bal sinistre dans La Chevauchée des bannis (Andre de Toth, 1959) - 28'25 L'ambigûité d'un regard au cinéma : Cruising (William Friedkin, 1980) - 32'08 CARTE BLANCHE - 38'40Fading (Olivier Zabat, 2010) III. CINÉMA & TRANSMISSION - 43'08 Un film à transmettre aux générations futures : Madame a des envies (Alice Guy, 1907) - 43'08 Un film à raconter : La mort de Danton (Alice Diop, 2011) REFUGELa Maison des bois (Maurice Pialat, 1971) CREDITSLes extraits diffusés dans cet épisode le sont à titre illustratif, dans un cadre non commercial. Tous droits réservés à leurs ayants droit.Et vogue le navire — Federico Fellini (1983) © RAI / GaumontToute une nuit — Chantal Akerman (1982) © Fondation Chantal AkermanDersou Ouzala — Akira Kurosawa (1975) © Mosfilm / TohoFading — Olivier Zabat (2011) © Les Films du BilboquetSpy Boy — John Hiatt (1988) © Universal Music GroupTrois beaux oiseaux du Paradis — Ravel, The Cambridge Singers, dir. John Rutter © Collegium Records Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation, Réalisation : Phane Montet & Clément Coucoureux

Jackie and Greg move out of their parents' house for Chantal Akerman's NEWS FROM HOME from 1976. Topics of discussion include Akerman's cinematic prose, the unspoken personal experiences of her parents, how correspondence has changed over generations, and the New York City of the 1970s.#52 on Sight & Sound's 2022 "The Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.com

At this year's Berlinale Film Festival, Wim Wenders declared that cinema is not political — so hosts Elliot Bloom and Kiriko Mechanicus, both speaking from their own diasporic experiences, decided to put that to the test. Moving through Persepolis, Incendies, Bend It Like Beckham, Girlhood, and Chantal Akerman's News from Home, they explore how diaspora cinema transforms the politics of borders and belonging into something deeply, unavoidably human. Because for anyone who has ever lived between cultures, cinema isn't just art — it's a second home.This episode is part of Diaspora Diaries, LAB111's curated season running January through March exploring stories of movement, identity, and belonging on the big screen. Get tickets to Diaspora Diaries @ LAB111Listen back to Why Wim Wenders?Listen back to Can We Still Watch Films By Bad People?

Nove knjižne izdaje založbe Škuc in Centra za slovensko književnost med drugim prinašajo roman Sarivala Sosiča, pesniški zbirki Natalije Milovanović in Alje Adam ter prevodna dela; danes izpostavljamo kratek roman Jeana Cocteauja Bela knjiga in avtobiografsko besedilo Moja mama se smeje Chantal Akerman. V Pokrajinskem muzeju Koper pa so odprli drugi del razstave Koper med zvonikom in žerjavi: arhitekturne sledi družbenih sprememb, ki obravnava urbanistične in arhitekturne preobrazbe po drugi svetovni vojni.

We bid a fond farewell to our Acteurist Spotlight on Delphine Seyrig with the greatest movie of all-time (as of the most recent BFI critics' poll), Chantal Akerman's Jeanne Dielman, 23, quai de Commerce 1080 Bruxelles (1975) and its "sequel," Golden Eighties (1986), Akerman's retro-80s-while-it's -still-happening musical. We give our latest thoughts on anxiety, oppression, and orgasms in Jeanne Dielman before turning to a very different Jeanne played by Seyrig and a different aspect of Akerman's grappling with her family history. In Golden Eighties, Akerman takes a wistful snapshot of the moment when postwar capitalism was undeniably failing but denial hadn't yet failed, smuggling social commentary and emotive dramaturgy into goofy musical comedy.  Time Codes: 0h 00m 25s:       JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (1975) [dir. Chantal Akerman] 0h 41m 06s:       GOLDEN EIGHTIES (1986) [dir. Chantal Akerman] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – "Making America Strange Again" * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

On episode 140 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter discuss the final film in their Chantal Akerman series, A Couch in New York (1996). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. Chantal Akerman's late 1960s to 1970s output is what she is known for and highly celebrated for a time where the director was tapping into something artistically personal that resonates for decades to come. But what happens the rest of her career is a bit of sad, as she tried to chase the glory of her past work, delivering work that is fascinating given her early films, but rather aimless exercises. As the boys look at her past, they take a look at Akerman's attempt to make a Hollywood romantic comedy, with two leading stars of their times, but is missing the director's signature point of view and patience, thus making it a weird exercise to explore within her filmography. Ryan and Jay give their thoughts on the film, the strange premise of the film, Hurt and Binoche's lack of chemistry, if the ending makes sense, Akerman's documentary work with News From Home that is a much more vital piece of work from the director covering her time in New York. They also give out their rankings for the series and tease the new series they will be starting next week. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. You can also listen on the AW YouTube page. This podcast runs 1h56m. The guys will be back next week to begin their series on the films of Michael Powell and Emeric Pressburger with a review of their film, 49th Parallel. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On episode 139 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter discuss the next film in their Chantal Akerman series, Les Rendez-vous d'Anna (1978). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. It's not easy following up what people consider to be the greatest film of all time, but Akerman, her next feature film seemed to be another perfect, meticulous examination of a woman's journey through life, continuing the trend she's looked at within the first two films of this series. But what makes Les Rendez-vous d'Anna such a fascinating film is that the picture feels as if it's from someone who has lived a life, and as they enter their thirties, their reflection on who they are, what they've done in their life, and what their purpose becomes clearer as she meets more and more figures of her past. It's a blistering, meta look into the director's life at the time, and what she thought about choosing her art over a more normal type of life. Ryan and Jay break down their thoughts on the film and how they see the turning points of their lives reflected within the honest piece of cinema by Akerman. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. You can also listen on the AW YouTube page. This podcast runs 1h29m. The guys will be back next week to conclude their series on the films of Chantal Akerman with a review of her next film, A Couch in New York. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

After a 40-year drought, Hollywood studios let women control films behind the camera with Elaine May's "A New Leaf". In the documentary world, Barbara Kopple released her epic chronicling of the coal miners' strikes in "Harlan County, USA". And in Europe, Chantal Akerman put out the notorious "Jeanne Dielman". Hosted by Brad Garoon & Jake Ziegler, with guest James Sanford. 0:00 Introduction0:58 A New Leaf19:17 Harlan County, USA36:26 Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles#newhollywood #classicmovies #womeninmovies

On episode 138 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter are joined by Morgan Roberts, host of the Female Gaze; The Film Club podcast, to discuss the next film in their Chantal Akerman series, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. The Director Watch duo have talked about some of the most important films of all time, but none bigger than Jeanne Dielman, the film voted as the number one film of all time by Sight and Sound back in 2022. Following the everyday life of a widower preparing meals for her and her son while also performing the occasional trick to make it by, Akerman dives deep into the soul of someone on the verge of falling apart, slowing showing a three-day meltdown that leads to shocking, heartbreaking conclusions. But is it the greatest movie of all time is the real question. Ryan, Jay, and Morgan break down their thoughts on the film, the methodical pace and structure of this portrait of a modern woman, her preparation for the various meals we see her make, her uneven relationship with her son, how missing someone you love has long term effects, the film's controversial ending, and so much more that includes Ryan breaking down the entire plot of the 2011 sci-fi action picture In Time. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h43m. The guys will be back next week to continue their series on the films of Chantal Akerman with a review of her next film, Les rendez-vous d'Anna (1978). You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On episode 137 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter discuss the first film in their Chantal Akerman series, Je Tu Il Elle (1974). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to break down, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. Last week the guys said goodbye to the figure that is Warren Beatty, and switch things up by focusing on a director whose work has become discovered and evaluated more as her second feature was given the crown of the "greatest film of all time" from Sight and Sound; Chantal Akerman. Before next week's examination of said greatest film, Ryan and Jay first take a look at her feature film, an experimental look at the life of a young woman (played by Akerman) and her journey of discovering her relationship with wanting to connect with someone and the damage it can have on her if it's absent in her life. As thought provoking and patient of a debut feature as you will ever see, the boys breakdown their thoughts on the film, off the cuff Top 10 for the Sight and Sound list if they were ever asked, their marvel of Akerman's use of the form, what eating pure sugar from a bag must be like, and how this film is the appetizer for the meal that is Jeanne Dielman on next week's show. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. You can also listen to it on our AwardsWatch YouTube page. This podcast runs 1h38m. The guys will be back next week to continue their series on the films of Chantal Akerman with a review of her next film, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. You can watch it on HBO Max or rent it via iTunes or Amazon Prime in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

What do Inception, Tim Robinson, Luis Buñuel, Woody Allen, and Chantal Akerman have in common? They all get compared to Hong Sang-soo's On the Beach at Night Alone in this episode of Deep Cut! Listen on as we unpack the movie that's loosely about Hong's and Kim Min-hee's career-changing relationship, digest more awkward dinner scenes, and discuss the merits of going to the beach in the winter.Links:Scold your friends for being inauthentic at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro02:31 General reactions08:00 Context / Hong+Kim relationship14:32 SG public opinion survey18:04 Hong Sang-soo's 'Inception'20:08 Hong Sang-soo / Tim Robinson21:43 Hong / Buñuel25:45 Hong not planning era27:17 Ryan Swen Notarized and dinner scene33:16 What to do with this movie?38:13 Hong's Chantal Akerman41:10 Hong as Woody Allen

On episode 136 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter are joined by AwardsWatch contributor Trace Sauveur to discuss the final film in their Warren Beatty series, Rules Don't Apply (2016). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. In a Howard Hughes like move, for close to two decades, the world got used to see Warren Beatty more as the arm candy for his wife at award shows and less so as a direct. But in the mid-2010s, Beatty finally got back to the director chair to make his long-awaited dream project, a film about the famous Hughes. It was a box office, critical disaster of epic proportions, but in the time of its release, and in the process of going over his directorial achievements, it's a bittersweet ending (potentially) to one of the most curious figures in Hollywood history, with the film becoming a meta commentary on where the world and Beatty see himself; it's really the films only redeeming quality. Ryan, Jay, and Trace break down the film, their thoughts on it, how Beatty mirrors Hughes later years, how it almost continues the story after the events of The Aviator, cream jeans, the cinemas in the greater Georgia area, the 2016 Oscar fiasco, whose fault it really was, some justice for Alden Ehrenreich, and a mention or two about Rob Lowe singing with Snow White at the Oscars (yes, it really happened). Plus, the guys give out their rankings of the Beatty series and preview their next movie series starting next week. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h08m. The guys will be back next week to begin their series on the films of Chantal Akerman with a review of her first film, Je Tu Il Elle (1974). You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Is traveling through Europe too expensive? Then hop aboard a train with the Deep Cut trio and Chantal Akerman for another sensitive, lightly autobiographical story of a surrogate character experiencing ennui and/or despair. Along the road trip, there's sex, ‘70s outfits, and… windows. Ultimately, we struggle to decide: how well can we know Akerman through her work (or, for that matter, anyone)?Meet Ben, Wilson, and Eli (kinda) at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro03:46 Summary04:27 General reactions11:33 Jeanne Dielman vs The Meetings of Anna16:39 Mom and Akerman herself22:37 Plot sequence and Akerman's subjectivity30:32 Other Akerman films34:20 Akerman and loneliness37:39 Ending40:12 Sex43:29 Singing

We are joined by none other than friend of the pod and the artist behind all of our DC covers, Justina Yam! Justina comes on the podcast to take us back to the works of Chantal Akerman, with her first feature Je Tu Il Elle. Justina talks about her personal connection to Akerman's films, and discusses how she continues to play with time in her filmography. Wilson and Eli talk about expressions through body language and narration, and Ben has a theory about Je Tu Il Elle being a non-linear film. Do you want DC merch? Tell us on the Discord!Links:Justina's InstagramJustina's recent photojournalism project: 風流 (Feng Liu)Ira Sachs on Je Tu Il ElleEat sugar at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00:00 Intro00:01:44 Introducing Justina Yam00:07:09 Je tu il elle introduction00:08:04 General thoughts on Je Tu Il Elle from Justina and Wilson00:13:21 General context of the film00:15:27 General reactions from Ben and Eli00:18:09 Sugar? Long Takes?00:20:56 Feminism and Akerman 00:23:30 The three act structure00:27:44 Blocking and the body00:34:06 Long takes00:36:42 Sex scenes00:41:43 Autobiographical nature of the film00:47:16 Temporality 00:53:49 The ending and career context00:58:49 Discomfort within Akerman's cinema 01:04:03 Outro

durée : 02:19:41 - Les Nuits de France Culture - par : Albane Penaranda - En 1978, Daniel Caux consacrait un documentaire à Michael Snow, artiste canadien pluridisciplinaire et figure majeure de l'art contemporain et du cinéma expérimental, disparu en 2023. Chantal Akerman racontait à quel point la découverte des films de Snow avait été une révélation. - réalisation : Phane Montet

While attending the 38th Tokyo International Film Festival, Ben was able to interview director Chihiro Amano for her film Sato and Sato.Sato and Sato covers the 15 year span of a relationship as it slowly unravels, covering marriage, parenting, and the ways relationships morph over time. In our short interview, we talk about changing gender dynamics as depicted in Amano's film, how she worked with her cast to create the characters and relationship, and find a little resonance with other Deep Cut director Chantal Akerman. Special thanks to the festival team for arranging the interview and guiding me around the festival, and to the provided interpreter, Ninomiya Yukako.Get hitched at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro01:44 Interview: Same last names03:50 Working with the cast07:47 Women's empowerment09:49 Spoiler10:40 Male insecurity12:44 What is love?13:56 Outro

Jennifer Khakshouri, Nina Kunz, Milo Rau und die Ärztin und Schauspielerin Natalia Conde diskutieren über «Organisch» von Giulia Enders, «Auf ganz dünnem Eis» von Peter Stamm, «ë» von Jehona Kicaj, «Eine Familie in Brüssel» von Chantal Akerman sowie über «Herscht 07769» von László Krasznahorkai. «Darm mit Charme» heisst der Bestseller, mit dem Giulia Enders noch als Medizinstudentin den Darm aus der Scham-Ecke befreit hat, witzig und wissenschaftlich fundiert. Nun – als promovierte Ärztin – legt sie mit «Organisch» in ihrem unverwechselbaren Stil nach: Die Lunge etwa vergleicht sie mit ihrer Urgrossmutter. Sie will, dass wir den Körper nicht länger als eine Art Maschine betrachten, sondern als lebendiges Ganzes. Der Schweizer Schriftsteller Peter Stamm umreisst in wenigen Worten ganze Leben. «Auf ganz dünnem Eis» heisst sein neuer Erzählband, in dem er Unspektakuläres spektakulär schildert. Ganz gewöhnliche Menschen am Wendepunkt. Einsame Menschen in der digitalen Welt. Die Figuren sind nahbar, beschrieben in knapper, klarer Sprache. Der Debutroman «ë» von Jehona Kicaj ist ein starkes Beispiel literarischer Vergangenheitsbewältigung. Seine Protagonistin ist mit ihren Eltern Ende der 1990er-Jahre aus dem Kosovokrieg nach Deutschland geflohen. Jetzt knirscht sie mit den Zähnen – so stark, dass ihre Zähne splittern. Das Schweigen fordert seinen Tribut. Der Roman führt vor Augen, wie wenig in Mitteleuropa über diesen Krieg Ende der 1990er-Jahre bekannt ist. «Eine Familie in Brüssel» ist ein Buch von Chantal Akerman, die vor allem als Filmemacherin berühmt war. Eine alte Frau berichtet darin in erlebter Rede über ihre Familie, die über die ganze Welt verstreut ist. Eine Familie, in der man kaum miteinander spricht, weil es Dinge gibt, die nicht berührt werden dürfen. Der atemlose Text ist auch eine Hommage an ihre eigene Mutter, die das Konzentrationslager von Auschwitz überlebte. László Krasznahorkai ist der diesjährige Nobelpreisträger. In seinen Werken beschreibt er regelmässig den Einbruch des Schreckens und der Gewalt in eine geschlossene Welt. Sein skurriler Roman «Herscht 07769» spielt in einer von Neonazis terrorisierten Kleinstadt im ostdeutschen Thüringen. Ein Gebäudereiniger sorgt sich um das drohende Weltende und wendet sich in verzweifelten Briefen an Angela Merkel.

Given her work in and around cinema, it's no surprise that Stephanie LaCava would write a novel that is, no small feat, cinematic. Said novel is Nymph, a slim and elliptical and fully satisfying character piece about a young woman, Bathory––called “Bat” for short––whose parents' strange lifestyle, either involving spy craft or assassinations or just being out-and-out weirdos, brings her down dark corners. Having known Stephanie for a little bit, I already knew she was worth talking to. (An important quality for any podcast guest.) But when she sent me the book last month, I read it with enough speed and relish that it was no question we should talk about Nymph, the Chantal Akerman and Abel Ferrara films that inspired it, and the complex personal feelings these things can raise. While I hope you like our conversation, I mostly hope it drives one to reading Stephanie's novel. Order Nymph here: https://www.versobooks.com/products/3384-nymph?srsltid=AfmBOorlFqrsPmUBBXZkib0EKTKrXwvCfSY0sCRZ1mooAPre-6aOgVfw

durée : 00:59:25 - Toute une vie - par : Christine Lecerf - Née en 1950, à Bruxelles, dans une famille d'émigrés juifs polonais, Chantal Akerman a traversé le cinéma comme une étoile filante, en laissant derrière elle une œuvre pionnière, arrachée aux ténèbres. - réalisation : Gislaine David - invités : Dominique Païni Théoricien, écrivain, critique et commissaire de d'exposition; Claire Atherton Monteuse, collaboratrice de Chantal Akerman; Marianne Lambert Réalisatrice de Chantal Akerman I don't belong anywhere, 2015.; Nicola Mazzanti Directeur de la Cinémathèque de Bruxelles.; Jacques Aumont Universitaire et critique de cinéma.; Maryline Watelet Productrice des films de Chantal Akerman.

To celebrate the Criterion Collection release of her subversive classic Born in Flames, writer-director Lizzie Borden is here to talk about Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. And yes, Wayne Wang and Lukas Dhont have already discussed Akerman's feminist masterpiece, but Lizzie has a very different approach to the film. Your genial host Norm Wilner suggests you hear her out.

Ep. 341: Amy Taubin on My Undesirable Friends, Highest 2 Lowest, Terence Stamp, Chantal Akerman, What Could Go Wrong, The Pitt Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I welcome back the one and only Amy Taubin to the podcast for a catch-up about what she's been watching (and a few words about things to come). Among the titles and topics discussed are the essential new documentary My Undesirable Friends: Part One—Last Air in Moscow (whose director, Julia Loktev, Taubin recently interviewed); Spike Lee's latest, Highest 2 Lowest; the dearly departed star Terence Stamp; the upcoming MoMA series on Chantal Akerman and on Hurricane Katrina; the TV show The Pitt; and the podcast on AI from screenwriter Scott Z. Burns, What Could Go Wrong. I also throw in a couple of recently viewed movies I enjoyed. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

We continue our series on Akerman with a double-bill of personal documentaries about her mother, and of home. News from Home immediately follows her seminal Jeanne Dielman, and No Home Movie is the final film of Akerman's filmography. In this episode, we thread the throughline across Akerman's career in comparing both films, see the influence of structural and slow cinema, and marvel at her capacity for personal artmaking.Links:Celine Sciamma on Chantal AkermanI Don't Belong Anywhere: The Cinema of Chantal Akerman (No Home Movie BTS footage)Go home to our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro05:32 Plot summaries and Reactions17:15 2015 critical reactions to No Home Movie21:00 Structural films and emotional responses27:07 Power of the cut33:41 Akerman and her mother40:33 Comparing Akerman with Varda44:36 Private artmaking48:33 Akerman's career arc52:13 Preview for next eps

It's about time. We tackle Chantal Akerman's Sight and Sound topping Jeanne Dielman, and begin our series on her singular career. Ben introduces Akerman's career, spotlighting her fierce conviction and crystalline vision, Eli loops in a melodramatic reading, and Wilson zeroes in on an ending that explosively caps off a 3.5h opus. And if you're struggling with how to approach this film, as entertainment or as art, just remember: it's about time.Links:Behinds the scenes of Jeanne DielmanSlant magazine interview Article on Akerman Wilson's Letterboxd reviewStephen Gillespie's Letterboxd reviewAngelica Jade Bastien on LonglegsMake coffee at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

durée : 00:59:59 - Les Nuits de France Culture - par : Albane Penaranda - En 2009, France Culture propose une série, en cinq volets, consacrée aux adaptations cinématographiques de "La Recherche" de Marcel Proust. Dans le troisième, Florence Colombani s'intéresse à "La Captive" de Chantal Akerman d'après "La Prisonnière". - réalisation : Virginie Mourthé - invités : Chantal Akerman Réalisatrice; Paulo Branco Producteur; Stanislas Merhar; Jean-Yves Tadié Professeur émérite de littérature française à Paris-Sorbonne et vice-président de la Société des Amis de Marcel Proust et des Amis de Combray

We continue celebrating the return of the Melbourne International Film Festival this August with two special guests and a look at a wonderful homegrown queer short film, a retrospective from... LEARN MORE The post MIFF 2025: ‘I'm The Most Racist Person I Know', Chantal Akerman: Traces and ‘High Art' appeared first on Out Takes.

durée : 00:51:54 - Les Nuits de France Culture - par : Albane Penaranda - En 1986, la cinéaste Chantal Akerman est l'invitée de Brigitte Ollier dans "Microfilms" pour "Golden Eighties", une comédie musicale avec Delphine Seyrig, Fanny Cottençon, Lio et Charles Denner. - réalisation : Virginie Mourthé - invités : Chantal Akerman Réalisatrice

durée : 00:23:28 - Les Nuits de France Culture - par : Albane Penaranda - En mai 2002, Chantal Akerman est l'invitée de Pierre Assouline dans "Première édition" pour son film "De l'autre côté", un documentaire tourné sur la frontière du Mexique et de l'Arizona. - réalisation : Virginie Mourthé - invités : Chantal Akerman Réalisatrice

Reichart, Manuela www.deutschlandfunkkultur.de, Studio 9

Reichart, Manuela www.deutschlandfunkkultur.de, Studio 9

Netz, Dina www.deutschlandfunk.de, Büchermarkt

Karches, Nora www.deutschlandfunk.de, Büchermarkt

durée : 00:34:56 - Les Nuits de France Culture - par : Albane Penaranda - En 2013, Chantal Akerman publie "Ma mère rit" au Mercure de France. Un livre comme le roman d'une vie, un autoportrait et un portrait de famille, avec des photographies de famille, d'intérieurs, des décors, des choses, des images de ses films, et de son enfance. - réalisation : Virginie Mourthé - invités : Chantal Akerman Réalisatrice

The 2025 Cannes Film Festival kicks off today...and the question on everyone's mind is: what will be the great movies? Mostly, people look to the Cannes Competition (the films that compete for the Palme d'Or) to find the best films. But it's a lesser-known fact that many amazing films screen in the festival's sidebars. And many of the best films in cinema history have screened in the festival's sidebars. In fact, Chantal Akerman's Jeanne Dielman, which was named the greatest film of all time in the 2022 Sight & Sound poll did not screen in competition! It screened in the Directors' Fortnight. So on today's episode, Alex peels back the curtain on how all the different parts of the Cannes Film Festival work together. And she talks about the amazing films you've heard of (and some you probably haven't) that have screened outside the festival's competition. And she talks about some of the films she's excited for this year. Finally, Alex talks about some of the films she's excited for in this year's competition, and how they were already making fantastic films years ago that were hiding out in the festival's sidebars. *** Become a Seventh Row Insider to stay updated on the best films at Cannes this year and in past years that you might not otherwise stumble upon *** Interested in picking up Seventh Row's ebooks on Lynne Ramsay, Joachim Trier, Joanna Hogg, Debra Granik, or Céline Sciamma? They're available exclusively on Seventh Row. Peruse the collection here: http://seventh-row.com/ebooks Listen to the Women at Cannes Podcast Season Listen to the Women at Cannes episode on Kelly Reichardt For detailed show notes, visit https://seventh-row.com/2025/05/13/ep-171-navigating-cannes-beyond-the-competition/

durée : 02:58:33 - Les Nuits de France Culture - par : Albane Penaranda - En 1994, "Le Bon plaisir" consacré à André S. Labarthe propose des dialogues entre le cinéaste et Sophie Calle, Claude Régy, Chantal Akerman, Patricia Mazuy, Jacques Henric, Gérard Titus-Carmel parmi d'autres. L'émission diffuse également des témoignages de Janine Bazin et Patricia Finaly. - réalisation : Virginie Mourthé - invités : André S. Labarthe Critique de cinéma, documentariste et producteur français; Sophie Calle Artiste plasticienne française; Chantal Akerman Réalisatrice; Patricia Mazuy Réalisatrice; Janine Bazin Productrice française de cinéma et de télévision (1923-2003); Jacques Henric Critique, essayiste, romancier; Gérard Titus-Carmel Peintre et poète; Claude Régy Metteur en scène (1923-2019); François Truffaut Réalisateur de cinéma et comédien français

We finally bring the brilliant, indelible work of Claire Denis to the pod with a discussion of her 1994 TV movie U.S. Go Home. Produced as part of the anthology series Tous les garcons et les filles de leur age… alongside work from other French visionaries like Chantal Akerman, Olivier Assayas and André Téchiné, Denis' film is an elliptical, compassionate coming-of-age story that regularly subverts expectations and never succumbs to the potentially regressive tendencies of its narrative milieu. We begin with some chatter about recent Hit Factory-featured filmmaker Edward Yang and a recent watch of his final work, Yi Yi. Then, we explore Denis' film - its lyrical formalism, its exquisite soundtrack - and how she crafts a work of simultaneously keen observation and hypnotic ambiguity. Watch U.S. Go Home on YouTubeThe Roxie theater in San Francisco is still seeking funds to help buy their building! Be sure to listen to our recent conversation with producer and Roxie board member Henry S. Rosenthal and visit the Roxie website to donate today!Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

On this week's pod, two hot, hot movies. First up, Sinners, Ryan Coogler's sexy Southern Gothic vampire flick set in Jim Crow-era Mississippi. It's got two Michael B Jordans, it's got epic musical sequences, it's got exquisite period detail, it's got spit sharing, it's got a smart and thorny race analogy at its heart, it's got great actors bringing their A game, it's got wonderful post-credit scenes and, did we mention, it's got two Michael B Jordans.  Similarly sexy and sweltering is Motel Destino, a neon-lit tropical noir from Brazilian director Karim Aïnouz. And inspired by Sinners, the team choose their favourite films set during parties or big nights out where things go off the rails. TIMESTAMPS: What We've Been Watching: Blue Velvet, April, GFT's Derek Jarman and Chantal Akerman retrospective, Manhunter (2:20) Sinners review (13:42) Motel Destino review (31:28) Theme: Nights Out Gone Awry (Carrie, Festen, The Invitation, Coherence, Nick and Norah's Infinite Playlist) (41:36) Get us on Twitter, Bluesky, Instagram and Letterboxd  @thecineskinny, email us at cineskinny@theskinny.co.uk Music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

Oggi a Cult: alla Fondazione Feltrinelli il festival "I giorni della Resistenza; a Triennale Milano comincia la Design Week con Emergency; al Piccolo Teatro Studio Melato Fabiana Iacozzilli firma " Il grande vuoto"; Sylvaine Akerman parla delle attività della Fondazione dedicata alla sorella, la regista Chantal Akerman; la rubrica GialloCrovi a cura di Luca Crovi...

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 315: Jeanne Dielman Released 12 February 2025 For this episode, we watched the 1975 film Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, written and directed by Chantal Akerman and starring Delphine Seyrig. As well as holding a 95% rating on Rotten Tomatoes, the film unexpectedly topped the 2022 Sight & Sound poll of the greatest movies ever made. We take the opportunity to explore what this poll is, how it has changed over seventy years, and what films we would have put on our lists, had we been asked. https://princecharlescinema.com/savethepcc/ Sight and Sound Top Tens https://bestpickpod.com/wp-content/uploads/2025/02/The-Sight-and-Sound-Survey-top-tens-1.pdf https://thefilmstage.com/watch-a-behind-the-scenes-documentary-on-the-making-of-jeanne-dielman https://www.slantmagazine.com/film/q-a-with-chantal-akerman-jeanne-dielman-three-decades-later/ John Cage's 4'33” https://www.youtube.com/watch?v=JTEFKFiXSx4 BEST PICK – the book is available now from all the usual places, and the paperback is out on 18 February. From the publisher https://tinyurl.com/best-pick-book-rowman UK Amazon https://amzn.to/3zFNATI US Amazon https://www.amzn.com/1538163101 UK bookstore https://www.waterstones.com/book/9781538163108 US bookstore https://www.barnesandnoble.com/w/best-pick-john-dorney/1139956434 Audio book https://www.audible.co.uk/pd/Best-Pick-Audiobook/B09SBMX1V4 To send in your questions, comments, thoughts and ideas, you can join our Facebook group, email us on bestpickpod@gmail.com, or find us on Bluesky. You can also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month, but please be aware that future releases will continue to be sporadic.

Matthew Sweet with art critic TJ Clark, who has written about the importance of repeated viewing for appreciating a work of art; philosopher and film historian Lucy Bolton, who's seen a re-issue of Chantel Akerman's film Jeanne Dielman, which documents the crushing routine of a Belgian housewife; philosopher and theologian Clare Carlisle, who has written on the philosopher Kierkegaard, who discussed repetition as a major feature structuring human life, and historian and educationalist Anthony Seldon. Plus composer, dramatist and regular silent film accompanist Neil Brand will be at the piano.TJ Clark's new collection of Essays is called Those Passions: On Art and Politics. The BFI is hosting a season of films by Chantal Akerman which runs for 2 months in London with further screenings at selected cinemas - and the 2k restoration of the film Jeanne Dielmann is in cinemas across the UK Anthony Seldon's books include Truss At 10: 49 Days That Changed Britain; Johnson at 10: The Inside Story and The Fourth Education Revolution Book by Anthony Seldon Clare Carlisle's book is called Philosopher of the Heart: The Restless Life of Soren KierkegaardProducer: Luke Mulhall

Su largometraje de 1975 "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles" fue reconocido en 2022 como "la mejor película de todos los tiempos". Pero mucho antes de realizar esa obra maestra, la belga Chantal Akerman hizo de todo para financiar su trabajo audiovisual. Así fue como, viviendo en Nueva York, aprovechó un  simple truco para desviar miles de dólares a su bolsillo: dinero que robó del cine para darle al cine.

We meet artist Carsten Höller for some perceptual playtime to celebrate New Year's Day! We explore Höller's collection of odd tasks and mischievous game-play.Carsten Höller invites readers to disrupt their daily lives with 336 mind-expanding diversions. They can be played alone, in pairs or in teams, in the street, in bed, on a train, wherever. No props or materials are needed. Just one body, all senses and a willingness to try something new, that's possibly conceptually or physically challenging, but guaranteed to entertain and to widen the player's horizons.Some games are more obviously daring than others – unexpectedly shouting ‘bang!' when your driver's reversing into a parking space is sure to elicit a reaction – but that's absolutely the point. Other games involve covertly dropping strange phrases into conversation, executing somersaults (without practice), or plucking hairs from your opponent's head while they stay poker-faced.Höller's scientific professional background informs his keenness to create what he calls Influential Environments. He wants to tease the brain while testing its limitations, through activity and passivity, agency and inertia. He conceived his first game with a group of friends in 1992, during a tedious dinner after an exhibition opening. Since then, he has collected and invented ideas, inspired by friends, life, the Surrealists, and Arthur Rimbaud. All games are illustrated with commissioned or pre-existing artworks and photographs. We find portraits by Inez van Lamsweerde & Vinoodh Matadin, August Sander, and Nan Goldin next to paintings by Salvador Dalí; snapshots of Joseph Beuys plus son and Donna Haraway plus dog next to appointed pieces by Christine Sun Kim and Anri Sala; film stills by Chantal Akerman, extracts from Shakespeare as well as treasures from Höller's personal archive—and his mother's.Edited by Stefanie Hessler and Hans Ulrich Obrist, this book encourages readers to engage in playful yet cerebral experiments that will leave them with a sense of wonder, disorientation, and a subtle smirk on their face.As an artist, Carsten Höller conducts radical experiments. His “Influential Environments” explore alternative scenarios, reimagining possibilities for human behavior and interaction and have been shown in major installations and solo exhibitions internationally over the last two decades. In 2022, he opened his restaurant Brutalisten in Stockholm and presented the third iteration of The Double Club in Los Angeles in 2024. Born in 1961 in Brussels to German parents, Höller currently lives and works in Stockholm and Biriwa, Ghana.Follow @Carsten.Holler on Instagram. Hosted on Acast. See acast.com/privacy for more information.

Today's great political film is Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), voted the greatest film of all time in the 2022 Sight and Sound poll. A classic of feminist cinema it is also a film about the meaning of time and the illusions of choice. How can a movie which shows a woman peeling potatoes in real time have you on the edge of your seat? If the personal is the political, what do three days in the life of a Belgian housewife tell us about the true nature of power? Coming this weekend on PPF+: two new bonus episodes to accompany this series: Shoah part one and Shoah part two, exploring Claude Lanzmann's path-breaking, harrowing, unforgettable 9-hour documentary about the Holocaust. Sign up to PPF+ to get all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time in our regular slot: Kagemusha (1980) Past Present Future is part of the Airwave Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode, returning guest Sam Meltzer brings Chantal Akerman's 1975 film, "Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles" to the podcast. You can follow SamLetterboxdYou can follow Female Gaze: The Film ClubInstagramBlueSky

durée : 00:03:49 - Le Regard culturel - par : Lucile Commeaux - Cet automne est une saison riche pour la cinéaste belge, dont on peut retrouver toute l'oeuvre, entre le cinéma, un coffret DVD exceptionnel et une exposition au musée du Jeu de Paume à Paris. Parmi tout ça, un film à découvrir: La Captive.