Chantal Akerman Masterpieces 1968-1978 [Criterion] (Blu-ray)

Chantal Akerman Masterpieces 1968-1978 [Criterion] (BLU)

Chantal Akerman

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Synopsis

In the revolutionary first decade of her filmmaking career, Chantal Akerman devoted herself to nothing less than the total resculpting of cinematic time and space. Journeying between Europe and New York City, Akerman forged a highly personal style that fuses avant-garde influences with deeply human expressions of alienation, desire, and displacement—themes that she would explore in a series of increasingly ambitious shorts, documentaries, and features, including the towering Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. With immersive rhythms that render the most minute details momentous, these landmarks of twentieth-century art continue to reveal new ways of experiencing cinema and framing reality.

Three-disc set includes five feature films, "Hotel Monterey" (1973), "Je Tu Il Elle" (1974), "Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles" (1975), "News from Home" (1976), and "Les Rendez-Vous D'Anna" (1978); and four shorts, "Saute Ma Ville" (1971), "L'Enfant Aimé, Ou Je Joue À Être Une Femme Mariée" (1971), "La Chambre" (1972), and "Le 15/8" (1975).

Special Features:

New 4K digital restoration of Les rendez-vous d’Anna and 2K digital restorations of Saute ma ville; L’enfant aimé ou Je joue à être une femme mariée; La chambre; Hotel Monterey; Le 15/8; Je tu il elle; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles; and News from Home, with uncompressed monaural soundtracks
Hanging Out Yonkers, an unfinished film from 1973 by Chantal Akerman
Film-school tests by Akerman
New program on Akerman featuring critic B. Ruby Rich
New visual essay on Akerman featuring archival interviews
Autour de “Jeanne Dielman,” a documentary made during the filming of Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, shot by actor Sami Frey and edited by Agnès Ravez and Akerman
Interviews with Akerman, cinematographer Babette Mangolte, actors Aurore Clément and Delphine Seyrig, and Akerman’s mother, Natalia
Appreciation by filmmaker Ira Sachs
An essay and notes on the films by critic Beatrice Loayza