Three excuses for the inexcusable delay:
1) It’s easier to be doing this when unemployed than when employed.
2) The Philadelphia Film Festival.
3) These films are blowing my mind. I am prepared to say that women on average make more consistently good and more provocative films than men. There’s so much I want to put down in these reviews, I can’t do it so quickly. So I will be extending this project into November. Also, while I promise you will hear my thoughts on all 31 films, the order I will publish them in will correspond not with my film schedule but rather with my whims and preferences.
Fame did not change Chantal Akerman. She got the attention of cinephiles everywhere with her radical experiment Jeanne Dielman (1975). She could have stepped up her game, scored a higher budget, made something even more ambitious—a dream project, perhaps. Nope. Her following work of fiction, Les Rendezvous d’Anna (’78), is simpler, not as challenging as, yet somehow more austere than Dielman—notwithstanding the name continental cast, and the themes of what it means to achieve fame as an artist, and what comes after. Anna Silver (Aurore Clément) is a filmmaker touring her latest film across Western Europe. She stays in well-off hotels, gives press interviews, has little trouble bringing men to her bed, and has friends, family and colleagues rather eager to have her as company. There is little doubt she is a thinly veiled Akerman promoting Dielman.
But there is no glitz to Anna’s fame. At 28, Akerman had already developed her signature motifs: immense long takes, voids of silence and of monologue, as few characters as possible, a Spartan narrative thread consumed by quotidian tasks and prolix travelling, a deep and genuine concern with base physical needs (food, shelter, sex, etc.), and an effectively stealthy feminism. We have a few scenes with a few actors to establish the exposition that Anna is an auteur of some esteem. That’s it. There is no ostentation to Anna’s/Akerman’s place in the world of cinema. There are merely tedious sojourns in the posh hotels and restaurants of urban Germany, Belgium and France, punctuated by tedious train and car rides, which it is not uncommon for Anna to spend sitting or lying around, eating, passively listening to whatever the hell the person she’s with is saying, sleeping, staving off sleep, waiting for something—anything—to happen. This is a filmmaker committed to her artistic vision, giving minimal thought to the demands that fame may place on it.
I know of no other filmmaker who depicts waiting—as a process, as a discipline, as an existential state—as well as Akerman. It’s been said and written that she impels her audience to feel time. I half-agree. Dielman clocks in at 3 1/3 hours, yet I can’t say I feel that much time go by as I watch that film (one of my all-time favorites), as time is folded in and made watchable by the domestic chores that set Dielman’s routine, and anyone who’s been through childhood can relate to some degree of necessary domestic duty. In her forty-five-year career, Akerman never made another film even close to that running time. Anna is a standard two hours, yet it is much more languid because of the energy that Anna expends on waiting—waiting to arrive at her destination, waiting for the next errand in her itinerary, waiting for whoever she’s with to shut the fuck up already. As the scope of her filmic projects contracts back to normal, Akerman demands reciprocity and asks her viewers to increase their patience. The shorter the film, the less that happens, of course. Granted, the soliloquies of the peripheral figures that Anna encounters on her travels are not as memorable nor as provocative as those few present in Dielman and in this auteur’s other early masterpiece Je Tu Il Elle. So Anna is a notch down from those efforts—and it is not surprising that critics expecting a match of or an improvement on Dielman’s galvanism (unlikely) were disappointed. The film’s thematic core nonetheless remains valid and poignant. The cult success of one project and the good graces of critics do not, nor should they, assuage Anna/Akerman of the burden of creating more and at-least-as-good art, of staying truthful to one’s aesthetic instincts, and of taking inspiration from real life—even when that may entail listening to someone in your proximity spin a near-insufferable yarn on family troubles and toxic masculinity.
Perhaps I ought to write that I know of no filmmaker who handles time and temporality—and, by extension, space and environment—as well as Akerman, not least for her acute understanding of making and viewing cinema as a time-consuming process, a perpetual self-enhancing feedback loop. That is a more confident statement. Watching her films on Hulu, lights off, snuggled up in my easy chair with laptop and headphones, I find it effortless to plunge into her intimate universe of narrow train corridors squeezed between windows and berths, of familiar hotel rooms and flats providing serene urban views and almost all needed amenities, of train stations and cars cutting modern forms and sharp neon æthers through dusky autobahns of steel and tarmac. (Jean Penzer is the cameraman responsible for this.) The ubiquity of windows and the areas observed beyond them steers us towards a meta-filmic commentary. Anna/Akerman here is the filmmaker as audience, seeing and hearing for ideas and signs of a new story to transmit through her calculated vessel-like self to the cineaste public.
Further, Anna’s/Akerman’s passive, quasi-gendered, ironic silence—comparable to Liv Ullmann’s selectively mute actress in Persona—points to the artist’s struggle to speak through film, or better yet to speak beyond and outside of film. If film is Anna’s/Akerman’s main means of subsistence and communication (which it is), then what does it say about ourselves and our increasingly tech-obsessed and tech-dependent society if we can only live and talk through technological media and membranes? To what extent are they a protective raincoat shielding us from our insecurities? Fame and privilege, travel and sightseeing have not alleviated Anna of her steely interiority—which the film adroitly reflects—and Clément’s enigmatic submission to the top-down wheel-spinning she is subjected to, by people and place alike, is a fitting complement for Akerman, a vulnerable and fearless artist who appears nude and has sex with man and woman in Je Tu Il Elle. The great final scene shows Anna at home, in bed, trying and failing to relax, listening to an answering machine full of friends and colleagues demanding further travel plans. Forever she will face down an audience full of wannabe storytellers who want her to tell the stories they want to be told—perhaps their stories—as opposed to her stories. For her and Akerman, there is no escape from the house of cinema. Ultimately, though, it is Akerman who has decided what stories to tell, and how she will tell them.
(I almost take it as a sign of approval from God—for this 31 Days of Female Cinema project, that is—that without realizing it, I slated myself to watch this—and watched it—on October 5, the first anniversary of Akerman’s death by suicide. She was a great auteur, one of The Greats, and I am only more eager to explore her back catalogue. That said, my advice for Akerman virgins is to start with Dielman, and don’t be intimidated by the running time.)
Grade: B+
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Two days after watching Aguirre—a German film made on the outside, I felt vindicated in watching Lore—a German film made by an outsider, Australian filmmaker Cate Shortland. It’s refreshing to have an outside commentary; an exclusively local perspective risks too much bias. Lore takes as its subject the Holocaust, with which modern-day Germany is still wrangling, and the Allies’ subsequent denazification of the nation, which is rarely studied. There are some perceptions of the Holocaust as an isolated, uncanny outburst of psychopathy, and others of it as a careful exploitation of military industry to facilitate genocide, with much historical precedent. The latter has more truth to it than the former. Lore takes an even more daring—and, in my mind, more accurate—point-of-view: that most Germans of the era were enamored with and confident in Nazism to the extent that they adored Hitler and were willing to trust his prejudice against the Jews, the Roma and the rest, and to ignore if not support whatever he was up to with them. Crucial to this portrayal of modern history’s greatest catastrophe is the focus on children who grew up knowing and cherishing only Nazism, and who faced a most agonizing coming-of-age in the years following World War Two.
Hydroplaning to Byzantium 