The enigmatic world of Chantal Akerman's deliberate and rigorous films requires more than mere attention—it demands a rendezvous with the Belgian filmmaker on her own terms. While not universally embraced due to their unique narrative approach, Akerman's cinematic creations attained newfound recognition in 2022, courtesy of Sight and Sound magazine's critics' poll ranking her seminal work, "Jeanne Dielman" (1975), as the unexpected No. 1 film. Now, Criterion steps into the spotlight, presenting "Chantal Akerman Masterpieces, 1968-1978," a meticulously curated set of three Blu-rays showcasing her pivotal films, each undergoing revelatory restorations.
Embarking on a chronological journey, the collection initiates with three short films that lay the foundation for Akerman's evolving artistry. "Saute Ma Ville" (1968) emerges as a black-and-white chronicle of domestic destruction, foreshadowing Akerman's profound impact, while "L'Enfant Aimé ou Je Joue à Être une Femme Mariée" (1971) and "La Chambre" (1972) delve into the nuances of life's disappointments and technical exercises in color, respectively.
A silent documentary, "Hotel Monterey" (1972), presents a gimlet-eyed exploration of a Manhattan hotel, echoing Edward Hopper paintings and Diane Arbus photographs. As Criterion's collection unfolds, each film unveils Akerman's mastery, guiding viewers through her silent narratives and astute command of form.
Returning to Europe, Akerman unveils "Le 15/8" (1973), a black-and-white confessional with a shy Finn narrating mundane events, offering a glimpse into the filmmaker's exploration of daily life. Her first feature, "Je Tu Il Elle" (1975), paints a portrait of Julie, played by Akerman herself, navigating heartbreak and isolation. The film's ebullient finale, featuring a graphic lesbian sex scene, challenges societal norms and has been widely celebrated for its naturalness.
The centerpiece of Akerman's early career, "Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles" (1975), remains a polarizing yet captivating exploration of daily rituals and hidden desires. Its meticulous portrayal of workaday gestures, juxtaposed with moments of clandestine activities, challenges conventional storytelling.
Returning to the U.S., Akerman collaborates with cinematographer Babette Mangolte for "News From Home" (1976), a haunting epistolary memoir blending quotidian scenes from Manhattan with letters from her Holocaust survivor mother. The film produces mixed emotions, offering a poignant yet conflicted view of family dynamics.
Concluding the set is the 4K restoration of "Les Rendez-Vous d’Anna" (1978), presenting Aurore Clément as Anna Silver, a character mirroring Akerman herself. This more conventional narrative explores Anna's struggles to connect with various figures across Europe, offering a reflective lens on human relationships.
