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Announcing:

A Nos Amours, working with Sacha Airlie in Glasgow will screen three programmes of Akerman films at the Centre for Contemporary Arts in Glasgow, dates:

28.5.14, 4.6.14 and 10.6.14,

Details will be appering on the CCA website

Also:

We are very happy to announce that A Nos Amours has been awarded a Boost Award to assist with the Chantal Akerman season – which will support events and additional screenings at JW3 and ICA . The Boost award is given by Film Hub London, managed by Film London and a proud partner of the BFI Film Audience Network, funded by the National Lottery (www.filmlondon.org.uk/filmhub).

A Nos Amours is also very grateful to the British Film Institute and to Wallonie-Bruxelles International for their financial support of this retrospective. Thanks also to Picturehouse, to the ICA, to the Royal Belgian Film Archive and to Paradise Films.

LesAnnees80

# 25

Chantal Akerman 8: Les années 80

A Nos Amours continues a retrospective of the complete film works of Chantal Akerman with·Les années 80, Akerman’s extraordinary prototype adventure in the world of the MGM musical.

Thursday 24th April, 7.50pm
ICA Cinema

book tickets here

Perhaps because Godard had done it (with Une femme est une femme), as had Jacques Demy (with Les demoiselles de Rochefort), so too was Chantal Akerman spurred to conceive of making a Technicolor musical. Or there again, maybe it is just the fact that Minnelli’s musicals at MGM (how wonderful is The Band Wagon!) are such very good films, that any film artist would want to navigate those waters. The trouble, in 1983, for Chantal Akerman was that a significant budget would be required. The solution, to put it crudely, was to make a ‘making of’ before the making, a kind of calling card that would beguile financiers.

Les années 80 is that – but it is also an experiment, an adventure in intertextuality, the revelation of process that is in itself a search for a way of making. Chantal Akerman appears as herself, off and on camera, urging, instructing, commanding, performing. The spirit of her first film, Saute ma ville!, is reignited – spritely, energetic and full of fun.

The beginning is a voice, speaking over a black frame: in the beginning was the word. At the close, the Jewish Seder’s closing words are intoned: next year in Jerusalem. This is a film that offers the promise of that which is yet to come. In one sense that is The Golden Eighties that would be successfully financed and made in 1986, but in another it is the unattainable object of desire which for an avant-garde artist must be forever distant.

Les années 80, dir Chantal Akerman, 1983, 82 mins, French with English subtitles, 35mm


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links:

A Nos Amours blog (new writing is welcome)

About the A Nos Amours blog

A Nos Amours elsewhere on the web

list of previous screenings

 

A Nos Amours is a collective founded by film-makers Joanna Hogg and Adam Roberts dedicated to programming over-looked, under-exposed or especially potent cinema. A Nos Amours is a moveable feast that goes wherever and whenever opportunities arise. A Nos Amours invites film-makers and others to advocate and present films that they admire or would like to see on a big screen. A Nos Amours  believes in the value of watching film as a shared experience.

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Future Akerman screenings at ICA cinema London

(start time are to be confirmed)

15.5.14

Akerman 9: 

Un jour Pina m'a demande (1983)
+ L'homme à la valise (1983)

Chantal Akerman is a film maker whose time has come: her work is news that stays news. It is a cinema that reinvents and redefines what film is and should be.

Akerman's work is superficially wide-ranging - documentary and narrative, film and video, 16mm and 35mm, cinema and gallery - and yet her work is characterised by an uncompromising and singular sense of purpose.

What Akerman shows us, by means structural and otherwise, is nothing less than the human condition, a series of astonishing mediations on loneliness and anxiety, alienation and discomfort.

Akerman so quickly, from her earliest work, established a startling and provocative project that is among the very greatest in European film.

As J. Hoberman has said: "Comparable in force and originality to Godard or Fassbinder, Chantal Akerman is arguably the most important European director of her generation".

“I don’t feel like I belong, and that’s without real pain, without pride. Pride happens. No, I’m just disconnected, from practically everything. I have a few anchors, and sometimes I let them go or they let me go, and I drift. That’s most of the time. Sometimes I hang on for a few days, minutes, seconds, then I let go again. I can hardly look. I can hardly hear. Semi-blind, semi-deaf, I float. Sometimes I sink. But not quite. Something, sometimes a detail, brings me back to the surface, and I start floating again…”·(from Akerman's voice over to Down There (2006))