A lonely widowed housewife does her daily chores and takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. Slowly, her ritualized daily routines begin to fall apart.
A woman suffers a subdued psychological breakdown in the wake of a devastating breakup.
Ariane and Simon met down by the water. Simon has managed to prize Ariane away from her friends, a bunch of free and arrogant girls, and move her into his place, with her own room at the end of the hall and her own bathroom next to his. He has taken on Andrée, one of the girls from the bunch by the water, to watch over Ariane, escort her wherever she goes and report back to him on everything she does. Andrée becomes Ariane’s accomplice. She’ll tell lies for her, and with her, and most likely they’ll make love together when the mood takes them.
Belgian filmmaker Chantal Akerman lives in New York. Filmed images of the City accompany texts of Akerman's loving mother back home in Brussels. The City comes more and more to the front while the words of the mother, read by Akerman herself, gradually fade away.
Dr. Henry Harriston is a successful psychoanalyst in New York City. When he is near a nervous breakdown, he arranges to change his flat with Beatrice Saulnier from France for a while. Both don't know each other and both find themselves deeply involved into the social settings of the other, because the decision to change their flats is made overnight. Could be the perfect amusement, but suddenly Henry finds himself beaten up by Beatrice' lover and Beatrice is considered to be Dr. Harriston's substitute by his clients...
In a remote, isolated Yazidi Kurdish village in post-Soviet Armenia, Hamo, a widower with a pitiful pension and three worthless sons, travels daily to his wife's grave. There he meets the lovely Nina, who is communing with her late husband. The two are penniless--she works in a local bar that is about to close down, while he has been forced to start selling his meager possessions. All seems hopelessly bleak, yet when Hamo begins to court Nina, their unexpected love revitalizes them.
In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.
Following over two dozen different people in the almost wordless atmosphere of a dark night in a Brussels town, Akerman examines acceptance and rejection in the realm of romance.
Three young women at a hair salon all like the son of the clothing store proprietors across the mall. Although Robby is selfish and shallow, he's appealing to Lili, the salon's manager, who's trendy and also the salon-owner's moll; to Mado, who's innocent and sweet; and to Pascale, who's intelligent but passive and downcast. Robby's dad tells him to grow up and see beyond the mercurial Lili, so he proposes suddenly to Mado. She's delighted, but the day before the wedding, Lili returns to give Robby another look. In the background, a Yank who was a soldier in France in World War II returns to Paris and tries to recapture the love of his wartime sweetheart, Robby's mom.
Inspired by true events, a 14 year-old boy is accused of raping and murdering a little girl
On a trip across Western Europe to promote her newest release, filmmaker Anna encounters several individuals—familiar and otherwise—and attends to their discontents.
Documentary about humans dealing with changing technology, the basic concepts of communication, cinema, and Akerman's mother, seen in her Brussels apartment.
Belgian director Chantal Akerman avoids her usual "real time" technique in Histoires d'Amérique. The anecdotal nature of the subject matter compels Akerman to fragment her narrative, rather than offer it in one, uninterrupted continuum. Still, another Akerman trademark -- permitting the "drama" to emanate from the actors rather than the situations -- is very much in evidence. This informal history of Jewish life over the past 100 years is related in a series of eyewitness accounts, re-created by a group of largely unknown actors. Also known as American Stories, the Belgian/French Histoires d'Amérique began building an audience when it was shown at the Berlin Film Festival.
Furniture and clutter of one small apartment room become the subject of a moving still life—with Akerman herself staring back. This breakthrough formal experiment is Akerman's first film made in New York.
A tale of an occidental merchant, Kaspar Almayer, whose dreams of riches for his beloved daughter, Nina, collapse under the weight of his own greed and prejudice.
A filmmaker’s self-portrait, asking hard questions of herself and of us. Invoking Aurore Clément as a kind of stand-in or proxy, a glamorous counterpart to Akerman who sports a drawn-on moustache. What is cinema for? Who is it for? If the Mosaic prohibition on making graven images includes film images, then where does that leave a Jewish filmmaker?
Scenes of life in Eastern Europe after the collapse of the Eastern Bloc.
Akerman spends a brief period on her own in an apartment by the sea in Tel Aviv. She films from the apartment and in her narration she talks about her family, her Jewish identity and her childhood. She wonders whether normal everyday life is possible in this place and whether filming is a realistic option.
Ana bolts from her wedding altar and flies from Venezuela to Paris to realize her dream of becoming a great opera star.
Jack and Julie live in a bare flat in Paris. At night, Jack drives a taxi while Julie wanders around the city, and in the day they make love. One day Julie meets Joseph, the daytime driver of the taxi, and soon Julie is spending her nights with Joseph and her days with Jack.
