back and forth documentary

It’s after 3am, we’re both sick with throat infections and can’t sleep. We’re laying in bed flipping back and forth between reality tv and documentaries and taking it in turns to make dying whale noises.

Let me tell you, there’s sone weird shit on More4 at 3am.

Chantal Akerman at the Venice Film Festival, 1982 for her film Toute une Nuit.

“I think you see her all over contemporary art-cinema. I know that everybody is singing her praises now but if anything, I think her influence is still possibly understated. It’s enormous, which is one reason why it’s frustrating – In the immediate aftermath of her death, I thought the obituaries really undersold her, especially in the mainstream media, well at least in the more general interest publications – It was just like: feminist filmmaker, woman filmmaker, experimental filmmaker, all those labels seem really, really small when you think about what she did. There’s so many ways you can talk about what she did. I think for me, it was about this idea that you could make films that were both really formally rigorous and really personal at the same time. And you can introduce this formal rigor into narrative cinema… going back and forth between narrative and documentary, combining those modes, doing different kinds of narrative films, going back and forth between the cinema and the gallery, which is something we’re trying to explore with this program. I mean Akerman did all of it. She did all of it before a lot of people.”

- Dennis Lim, Art of the RealFilm Comment podcast