With her characteristic restrained use of gestures and unmistakable mastery of space and time, Chantal Akerman films the confinement of a young widow, mother of a teenage son, in her domestic routine, following, for three days, the disintegration of the rhythms and rituals that structure her everyday life and place in the world. This year, Olhar de Cinema will screen the second feature film in the Belgian filmmaker’s career, often regarded as her masterpiece. A fundamental landmark of feminist and avant-garde cinema, the film was recently praised as “the best film of all time” by the British magazine Sight and Sound. (C.M.)
Born in Brussels, Chantal Akerman (1950-2015) has always traveled between fiction, documentary, and experimental film, often blurring the boundaries between these labels. A key figure in new feminist approaches to film theory, which gained traction in the 1960s and 1970s, the filmmaker directed several remarkable films throughout her four-decade career, among which "The Meetings of Anna" (Olhar '18) and "News from Home" (Olhar '22).