4 Burst results for "Chantel Ackerman"
Filmspotting
"chantel ackerman" Discussed on Filmspotting
"But just thinking about it in those terms, switching the idea of the gays and who's in control is something that adds to that unease a little bit as a viewer. And he does it again when he talks about the characters on Japanese television and he shows those close ups where they're all breaking the fourth wall and they're looking back at you as if Japanese TV is watching you, not you watching TV. He also has a Kirsten Johnson like moment that's all about seeing and who's doing the seeing when he shows an African woman a young woman and he talks through or the narrator talks through almost in real time what we're seeing on screen, which is that that dance documentarians and subjects do sometimes where the subject knows they're being watched, but they're acting like they're not being watched because they know that's what they're supposed to do. But then there's something maybe a little bit artificial about it. And there's a moment where we see the eyes actually do glance at the camera. Those were the types of moments and that conversation around how you see the world and how the camera as a tool forces you to see things differently. That's where I got the most enjoyment out of this film. And I know this is a line that you loved as well, Josh. So I won't spoil it here too much, but maybe the most poetic line in the film and another great moment of the imagery and the voice-over matching is the shot we get of the willow and a heritage in the water. And that's another thing that just literally flips on its head, what is what is happening or the dynamic of those images? Well, and then shifting from dissolving from an actual shot of a Heron in a willow tree to a painting of it. That's flipped. Yeah, there's some gorgeous stuff there. And I'm glad you mentioned that. Because I do know it's one we both appreciate, but also as I get into this other point, I want to make, you know, there is some visual beauty or intrigue. It doesn't always have to be beautiful. Visual intrigue in this film absolutely. I think of another shot of a woman who is in a line. It looks like there may be bricklayers, they're tossing bricks, one man tosses it to her. She tosses it to another guy and she's in the middle of the screen. There's just something about the rhythm where the sun, I believe it's the sun. It might even be the moon during the day is in the sky. And so there are arresting images like that. I was hoping for more of them. I think to carry me through this to give me some visual information along with all of the narrative information and this is what also brought to mind another movie that I know came to mind for you as well. Again, because of what the films we've looked at together on the show, but chantel Ackerman's news from home. Now this might be one. You mentioned how camera person maybe was influenced by saint Soleil. You have to wonder, you know, news from home. Is 19 70 6, right? So did akerman influence marker here in some way because in that documentary, we see footage of mostly nighttime scenes in New York City where she has moved while she reads letters from her mother. Kind of passive aggressively trying to wooing her back. To leave the United States. And one of the things I was wowed about was the visual ingenuity, aukerman found in these mundane images of nighttime at New York City. I think of just one of pizza baker outside looking inside of him from outside and how reflections from other neon signs have kind of imprinted these red letters on his head. I talked when we reviewed it about that scene on the subway, where it's just a long, almost documentary slow cinema of just a fixed shot as we go from station to station, but there's a woman standing there and how her image, we see her reflection in the window of the subway car, and then we go through a tunnel and it's gone. Is she going to come back? Is she not? And how that transfixed me. I am sure there are more moments like that in sans Soleil that I missed because I was trying to keep up. Or I missed because I didn't have the cultural, you know, I'm more culturally comfortable with a movie set in New York City, right? In English language documentary. So I am sure there are other examples we could think of. But that was one reason, it's just interesting to me. Like news from home, equally as dense, I would say, in different ways, but struck me as a masterpiece right out of the gate, where a son say, as I've suggested, I'm still struggling with a little bit. Yeah, I definitely didn't think about news from home and akerman as well. And I think I made the mistake initially in my mind of assuming that sans Soleil must have been first and inspired news from home. And that's because of its reputation, but also I think because of its scale. News from home is so much more intimate than this film, not that it's any less ambitious, but of course it was 19 76 and this was 83 and you have to assume that it was an influence. I would say that if you're putting together an art house drive in double feature around sans Soleil, the movie you have to pair it with, you could think about a Kirsten Johnson film, definitely camera person would come to mind, but it really does have to be news from home. And I even went back and looked at our notes, looked at my notes from our conversation. Did not anticipate this, but the second line of my notes. About the akerman film is just the word disconnection. So I very much was feeling the same thing and thought the filmmakers were exploring a lot of the same ideas watching both films. Sans Soleil is currently streaming on the criterion channel and it's available VOD for the full Sight & Sound marathon
Filmspotting
"chantel ackerman" Discussed on Filmspotting
"A guess where murder mystery one comes in on Kyle cliches list? Not knowing Kyle's taste, but seeing that email and getting a hint that I do think he appreciates, you know, he's not just this Adam Sandler's only good when he's working with Paul Thomas Anderson or the safdie brothers. Is not number one. I do remember that as I am, like I appreciate it early Sandler, Billy Madison, happy Gilmore. That's good stuff. So I'm going to say Kyle. What's that? One, two, Billy Madison happy Gilmore. Oh, well, okay, that's right. So for Kyle, I'm going to say murder mystery is the first one. Essentially. I'm going to say Kyle has it in the top third of his rankings. Yeah, not quite. He's actually got it exactly in the bottom. If my math is correct, murder mystery one. 41st out of 64, just ahead of murder mystery too. It's also just ahead of number 43, Paul blart, mall cop. Well, now I'm less excited about murder mystery too. And I also, do you think, and I say this again? As a longtime Sandler fan, do you think Kyle serious? I spent a lot of time thinking about that. Because it certainly started out as one of those emails. We get from time to time taking us to task appropriately for something. And then as I saw, he put in the work the ranking and all the work I don't know. I mean, he did say godspeed and please allow yourselves to understand the beauty, humanity and joy of the Sandler cinematic universe only rivaled by the likes of fellini Scorsese godar and tarkovsky. So you tell me if Kyle serious or not. Either way. We'll never know. Kyle. Will you appreciate the feedback? For complete madness details, go to film spotting madness dot com or film spotting .NET slash madness, the tenth anniversary of madness will return in some form in 2024. So stay tuned for announcements about the subject of that tourney and it's accompanying short list of titles again film spotting madness dot com. Thank you everyone for playing. He's a guy. Best dinosaur? Yeah? Feel like Jordan's version of don't say cadence is even normal. Less than our right. Reasons you. Ish. Yeah? It should feel doesn't it count. A lot of the cognitive. We get back into our Sight & Sound top 100 blind spots marathon with that clip. In early scene, between brigitta Mira's Emmy and el Hadi Ben Salem's Ali in Rainer Werner fassbender's Ali fear eats the soul. Fassbender's film came in at number 52 on the 2022 Sight & Sound list. It tied with chantel Ackerman's news from home and was right between Jane campions, the piano there at 50 and then 5 films tied at 54. Those included Billy Wilder's the apartment, Buster Keaton's Sherlock junior and Ridley Scott's Blade Runner. Fear eats the soul was the only fossil film to make the sight and soundless, but the director has long been a marathon candidate of ours, foss bender died in 82 at the young age of 37 but in a short career he made over 40 feature films along with shorts, TV programs, and stage plays. Fear eats the soul comes somewhere in the middle of that imposing filmography. The film debuted in Germany in early 1974 before playing that year's Cannes Film Festival and making it to the U.S. later that year. Coincidentally, the film is a remake of Douglas sirk's 1955 melodrama all that heaven allows. CERC was the subject of our previous marathon conversation Adam. We reviewed imitation of life, just a couple of weeks ago. Now where all that heaven allows feature Jane Wyman's wealthy widow scandalizing her suburban community when she falls for Rock Hudson's young bohemian arborist, fassbender, takes that central may December romance and moves it to working class Munich. And it does center on the middle aged widow Emmy, a cleaning woman who becomes romantically involved with Ali, a much younger Moroccan immigrant who goes by Ali just because that's what all the Germans are going to call him anyway. Their early happiness is soon challenged by coworkers, neighbors, and family, including Emmys grown children, all who disapprove of the relationship. Now, Adam in relation to that CERC reference, we've mentioned a couple of times how, especially for marathon, movies and filmmakers, we like to check out ephraim Katz's the film encyclopedia and get a little background. And so after watching fear eats the soul, I did that for fast spender and imagine my surprise when I did see this. Some critics have compared his work with that of France's Jean-Luc Godard, while others have also detected the influence of the American cinema of the 50s and particularly the films of Douglas cirque. I'm gonna admit, didn't immediately jump out to me while watching fear eats the soul atom. But once I read that, I started to think about it and thought, okay, I can totally see what's happening here. How did the cirque influence work for you? Well, in all that heaven allows, it's only class that divides them. That's part of its elegance. And it's potency. Fastbender amplifies. All of the oppressive forces that conspire against this couple without compromising either. We have now a character who's black, she's white. He's a foreigner, as you said, and that comes with its own host of mistreatments. It's set in Germany. We're not too far removed from Hitler and the Nazis. Hitler's invoked a couple of times. A couple times. The attempted genocide of the other. And we've got Ali here as another. And it's also set in Munich right after the Munich Olympics massacre, that tragedy in 1972, which is also referenced, and that, of course, just heightened distrust in hatred for Arabs in Germany at the time. So you've got all of these elements swirling against these characters. And I love how we have Emmy and Ali somehow still just rushing into it and saying, we're happy and our happiness is all that should matter. And they seem almost oblivious at times. To the reaction that their relationship is having on other people. Until they can no longer be oblivious to it, until that confrontation is right there in their face. And I think in that way, and certainly later in the film, this becomes even more apparent, the movie takes on an almost fairytale like quality. Despite being so entrenched in 1970s Munich and seeming to reflect the politics and the attitudes of the culture at the time, you have this element where the characters return from a vacation to Stein Z and it's exactly the catalyst for change in perception that she told him that Emmy told him it would be. Watch, we'll go on vacation and we'll come back. And you don't really believe her because why would change? Why would these attitudes change? And it's almost as if phosphate or has the universe say, be careful what you wish for. Actually, yes, things could change, but these forces are too big and too oppressive and even if they change somehow around you, you're going to change. There's a sense of pessimism and some doom around these characters, and yet there's also somehow. And I think this is really the magic of the film.
Filmspotting
"chantel ackerman" Discussed on Filmspotting
"A clip there from chantel Ackerman's 1975 film Jean dielman. It is the next movie in our overlooks auteurs marathon. So the three and a half hour deal men, it's been considered a masterpiece of feminist filmmaking since its debut. Consists of these long, static shots, a fixed camera of dielman, playing a housewife as she goes about her domestic duties. Duties which notably include prostitution, but I would say Adam, that isn't given any different of a portrayal than say folding the napkins that she also does each day. Absolutely. Akerman made her feature debut in 1972 with hotel Monterey, dielman followed in 1975. It made its debut at the Cannes Film Festival. She went on to direct over 40 features, shorts, and documentaries before her death in 2015. She reportedly struggled with depression and it was called a suicide by friends and European news outlets. She was 65 years old. I go back to some of the feedback from our recent poll question about three hour plus movies and you heard some variations on the line Jacob britton had talking about Olivier assayas Carlos, where he remarked that every time he watches it, he watches it in one sitting and it just flies by. He said, he kind of wishes it was maybe even longer. Did you have a similar reaction, Josh, possibly? Dijon dielman? No, I mean, if it flew by, then the movie wouldn't be working because the point, I mean, the most obvious thing you can say about Jean dielman is the monotony is the point, right? This is it's a movie that's going to immerse us in the daily routine of this woman, played wonderfully. We got to spend some time on the performance by Delphine Serge. In these tasks. And it's important to sit in them in all their monotony so that we get to know them as well as she does, or almost as well as she does, and so that we will recognize eventually. It's basically three days in her life, right? So we will recognize eventually when the pattern changes, or shifts, and we begin to be curious. Why? What's going on here? When the camera, you know, is it maybe 20 minutes in with all of a sudden we get an angle from in the kitchen that we hadn't had before. I mean, it's like you sit up. It's startling. Right? And it's because now we get to notice new things. So or how about that touch? And I forget which day it is, but one of her routines is making the morning coffee for her son, sylvain, and as she pours the cup for herself, she just leans back against the wall for a minute, and this is something she hadn't done before. She lightly and playfully crosses one leg in front of the other. And it's almost, it's telling you, these 15 seconds belong to her. And what's crucial about that? It may seem like a minor detail. But it's because this is a story of a woman who has no time for herself. She has oodles of time by herself. More than she wants. But how many of those moments are for herself? We say see very few of them. And this is an incredibly sad and exhausting film not because of its length or because of its aesthetic, but it's because of the picture of a woman who is caring. All she does is care for others, specifically her son. Yes. And never receives care back. And so it's not that there is necessary something wrong with sacrificing yourself in this way. But a human being can't only do that. They can not sustain that. You need some love and return. She's not getting it from her her son, who, you know, you just want to strangle this movie, right? And she's not getting it from her male clients. That is purely business. Even a letter she gets from her sister that she reads. It's meaningful to her, but this letter comes from Canada from across the ocean. It is not sustaining her. It's not providing true care. And so you're seeing a person completely abandoned. And trying to keep up. Her routines, despite this, and eventually, as the third day comes about faltering in that effort. So this is incredibly suspenseful in a way that you wouldn't maybe expect or describe usually with the term suspenseful. But maybe it's just, you know, slow cinema is working for me more and more of the older I get at them. And so I did not find this a chore at all. I found it. I found it to be a masterpiece. I mean, we've got another masterpiece on our hands here with this marathon. After Maya deren, right? Yeah, we do. And everybody talks about Orson Welles being 25 years old when he made Citizen Kane. It's just astounding to watch John deeleman and realize that chantel akerman was 25 when she made this movie. It doesn't have the bravura or the brashness that Kane has. But I think it has the boldness though. I think it has for sure. Let me get there. Beyond the exactness of it, there is, I would say, an undeniable elegance still to the look. I think of, say rig's robes and the production design of the rooms and the greens and the browns, there's a kind of sameness. There's a kind of sterility, but also a symmetry and a style that is very pleasing here, and there is absolutely.
Monocle 24: The Globalist
"chantel ackerman" Discussed on Monocle 24: The Globalist
"News now with our regular monocle 24 contributor Karen chrysanth. Thanks as ever for joining us, Karen, sight and sounds greatest films of all time. What's on this list? Yeah, well, every ten years I can sound magazine since 1952 has also a handful of experts critics and other people to list the top ten films that they think for the coming decade. This year I was included, which is nice. They've doubled it to almost 1700 people, so we get folded in there. And this year, the topper of the entire list, quite prestigious, is chantelle Ackerman, her Jeanne de mang film from 1975. She's Belgian filmmaker. She made it when she was 25, has beaten Albert Hitchcock Orson Welles. Ozu, one car wash, Stanley Kubrick, and 7 is Claire Denis. So we do have another woman in there as well. So in terms of choosing the films, there's no time limit, then it's not just the list comes out every ten years, but the film can be from any era. Yeah, there can be, you can choose silent movies if you like as well. The thing about what the greatest is. I mean, this, of course, is extremely subjective. And I have a tendency to think about what's my favorite and what would I tell people that I would think they would enjoy seeing. I think what was expected here because a lot of film critics have died every retired. And there's a new generation coming up with a different view about films. And so this was actually mooted to be as Jason wood, the BFI executive director of public programming said, it's a compelling list, but also it shakes a fist at the established order. And this was pretty much expected. So what are the general themes in terms of the changes that you've seen since the last list? Oh, gosh, there's just so many to say. I mean, in 2012, there was only one black film. And now there are 7. And other films have been pushed on with two silent films. It made the top two. And films that have been knocked out have been stroheim's greed, Agrippa's intolerance ocean and bunuel, which is always been one of the magnificent ambersons. And it's just many, many, many films that have been pushed out, which is quite shocking. Now, as you say, you were actually one of the voters on this, so what are your, say, top three? I know you're going to ask me, well, without going into the big list, I have to say that my list is more like the director's list. I mean, I did put 2001 in space Odyssey first. Because it's just, I love watching it. And I think that most people would enjoy watching it. Big screen are small. So I think that's the kind of argument I put in some new films from 2022. Nope and triangle of sadness. So it is quite interesting. It's just as an agenda I just wanted to say that the new editor of site and sound Mike Williams is going to be on the stack this week. So it's going to be very interesting to hear what they're doing with the magazine and how they're shipping it up for a new generation of film mothers. Absolutely. How does this like this matter? Do they influence the viewing public? Do you think? Right and sound is a bit niche. I have to say, and I think that the editor is probably trying to make it more popular, something like Total Film, which so many people read our empire. It's influential into fire as it's recognizing a lack of diversity, I suppose. And recognizing that there are great filmmakers that we don't even know about or aren't seen as much of. And I have to say, add a Roberts with his more my friendship so bad. He has been, he has been heralding chantel Ackerman for a long, long time. She's now passed away, but he is very influential in getting this film to the top. I want to look at the unlikely named cocaine bear. As I understand it, it's about a bear that takes cocaine. Indeed, well, he didn't mean to. It's kind of an accident. This is based on a true story. This is directed by Elizabeth Banks. We've been picking out some really great material. It's been based on a real life story of a 175 pound black bear who ingested a duffel bag of abandoned cocaine in northern Georgia in 1985. Now, that sounds like a great soil out the poor bear died a terrible death. But in Elizabeth Banks, fictional version, he goes on a killing spree. It is not a real bear. You will see that it really is not a real bear. This Israeli autos last film. And we also have Scott seiss who was a tic tac phenomenon over lockdown, really, really funny comedian. It's great to see him performing in this. But it's the trailer that you really caught everybody's attention. On social media, I think it's just what people need. They need something ridiculous a little bit forbidden. And just silly. And if you see the trailer, even if you hate yourself, it's quite it's quite funny. And this is a set again in Georgia's chattahoochee oconee national forest and when they found the bear in real life, there is nothing left but bones in a big hide that the investigator. Oh, dear. Right. Cocaine bear, that's one to certainly mark in some way. Karen, thank you very much indeed, that was the film critic Karen Krause and this is the globalist on monocle 24.