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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.


# 44
Continuing the Chantal Akerman retrospective

23.4.15, 6.40pm
ICA cinema

Akerman 19: Chantal Akerman par Chantal Akerman (1997) & Sud (1999)

tickets here

Chantal Akerman par Chantal Akerman

Commissioned as part of the series:·Cinéma, de notre temps

The legendary series of film-maker portraits curated by Janine Bazin and André Labarthe offered Akerman a commission to make a portrait of a film-maker. She chose, entirely consistently with her approach to date, to make a study of herself as film-maker. Why not? She had turned film-making back on itself, and discovered a feminised and ‘other’ sensibility, another way of seeing the world and self.

Akerman delivers a monologue about her work and thinking. This is followed by a montage of clips from her work, including from·Jeanne Dielman,·Saute ma Ville,·Hotel Monterrey,·Histoires d'Amerique,·Toute une nuit,·Portrait d'une jeune fille de la fin des années 60 à Bruxelles,·Les années 80 and so on.

Akerman closes with a simple statement of fact, without any of the usual biographical adornments of a film portrait: "I was born in Brussels, that’s the truth."

Chantal Akerman par Chantal Akerman, dir. Chantal Akerman, 1996, 63 mins


Inspired by a love of the literature of William Faulkner and James Baldwin, Akerman planned a meditation on the American South, to be modeled perhaps on her prior·D’est. But, just as she began work, James Byrd, Jr. was murdered in Jasper, Texas. A black man, he has severely beaten by three white men, chained to their truck, and dragged three miles through a black neighborhood.

Akerman’s approach is not that of news reportage. Jasper, the context for the crime, must be scrutinised. Patient interviews reveal the people and their attitudes. Byrd's funeral is a moment of deep feeling.

This is a film that finds an alternative to the forensic investigation of Capote's·In Cold Blood. This is a film that evokes a terrain, the folds of a psychological condition, the cold heart of white supremacism and the extraordinary nobility of the black community under attack.

Perhaps it is Akerma’s sense of exclusion, stemming from her family’s experience of the Holocaust, that enables her to see in this way.

Akerman has written:

How does the southern silence become so heavy and so menacing so suddenly? How do the trees and the whole natural environment evoke so intensely death, blood, and the weight of history? How does the present call up the past? And how hoes this past, with a mere gesture or a simple regard, haunt and torment you as you wander along an empty cotton field, or a dusty country road?

Sud, dir. Chantal Akerman, 1999, 71 mins


For further Akerman screenings

see here

The Akerman retrospective is supported by the British Film Institute, Wallonie-Bruxelles International and ICA

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Programme supported by Film Hub London, managed by Film London. Proud to be a partner of the BFI Film Audience Network, sponsored by the National Lottery.


Inspiring Eric Rohmer (1920 - 2010) /
Pierre Carlet de Chamblain de Marivaux
(1688 – 1763)

A reading of part of Marivaux's play Careless Vows (Les serments indiscrets, in a fine translation by John Walters, courtesy of Methuen), with a consideration of Marivaux's formative influence on Eric Rohmer.

Listen on line at Resonance104.4FM here

Originally transmitted on Wednesday March 11th 2015