Chantal Akerman's Films: The Politics of the Singular
1 See Chantal Akerman quoted in "Entretien avec Franr;:oise Maupin," Image et
Son 334 (December 1978), 103. Richard Kwietniowski discusses Akerman's
of symmetry in "Separations; Chantal Akerman's News from Home (1976)
and Toute une nuit (1982)," Movie 34/35 (Winter 1990).
2 See Marie Claude Treillou, "La Vie, II Faut la Mettre en Scene," Cinema 76. 206
(February 1976), 32.
3 Gary Indiana, "Getting Ready for The Golden Eighties: A Conversation with
Chantal Akerman," Artforum 21.10 (Summer 1983), 61.
Akerman originally wanted to make a feature film. See "Getting Ready for The
Golden Eighties," 57. She mentions that Saute ma Ville was kept in a laboratory
for two years. When trying to pay her debt to the lab she asked if there was any
chance of selling it somewhere, and the lab director suggested among others
took the film for the TV series L'autre Cinema. After an excellent
review Akerman called one of the critics to ask about other chances for produc-
tion. He suggested the Ministery of French Culture, where she sent a project
about a girl who poisons her parents. The project was refused, and meanwhile
Akerman watched many films and borrowed money to make a second film,
L'Enfant Aim6. which she claims is weak, the result of badly absorbed knowl-
edge. Akerman then went to New York, where she felt liberated after watching
American experimental films and made Hotel Monterey. See Akerman, "En-
tretien avec Chantal Akerman," in Daniele Dubroux, Therese Giraud, and
Louis Skorecki, Cahiers du Cinema 278 (July 1977), 40.
5 Akerman, quoted in Corinne Squire, "Toute une Heure: Corinne Squire Talks
to Chantal Akerman," Screen 25.6 (November-December 1984), 68.