See below.
Dr Shelley Cobb
Lecturer, English and Film
University of Southampton
http://www.southampton.ac.uk/english/about/staff/sc1p07.page
Sent from my iPad
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From: A Nos Amours <[log in to unmask]<mailto:[log in to unmask]>>
Date: 21 September 2015 08:39:00 BST
To: <[log in to unmask]<mailto:[log in to unmask]>>
Subject: {Disarmed} Journey's end: the two last Chantal Akerman retrospective screenings
Reply-To: A Nos Amours <[log in to unmask]<mailto:[log in to unmask]>>
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Journey's end:
The two last Chantal Akerman retrospective screenings
1 & 22 October at ICA Cinema
[https://gallery.mailchimp.com/f60be4b81267fae37ffda37f5/images/7a28788b-7c80-414e-837a-c5b1142f4bc4.jpg]
The two final screenings to conclude the most complete retrospective of Chantal Akerman's screen work ever given. Both are great and essential works form a greta and essential film-maker.
One film is a subtle, penetrating Jewish artist's response to the condition and situation of Israel, and the other a hypnotic, coruscating reimagining of Joseph Conrad'sAlmayer's Folly though a post-Colonial lens.
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The penultimate Chantal Akerman retrospective screening:
Akerman 24 - Là-bas
(aka Over There, 2006)
Thursday 1st October 2015, 7.00pm
ICA cinema
box office<http://anosamours.us5.list-manage.com/track/click?u=f60be4b81267fae37ffda37f5&id=3cbc5719ef&e=a5744971eb>
It is a perpetual tragedy that every screening of this work is always timely.
A camera in a room. A series of shots of window, balcony, light of an exterior world. Off screen we hear the voice of Akerman, on the phone. Has she been to the beach? No. She is indoors. Akerman’s camera see life beyond, glimpses of lives lived as in Hitchcock’s Rear Window. But the story told is very different: for this is Tel Aviv, and Akerman is the daughter of Holocaust survivors. She is apprehensive about a recent bombing, and meditates on the whether Israel is indeed the ‘promised land’ or merely a new form of exile.
There are of course no conclusions to be drawn, because the debate is only ever at best provisional. ‘It’s complicated,’ she states. Her relationship with Israel is overwhelming and frustrating, a matter of love and hate.
And what of the sea? The vast untroubled waters have lapped these shores throughout human history. The sea is an image of freedom, or ease, of human concerns dwarfed. But as ever, it is back to the apartment, and the glimpse of life outside, beyond the shutters.
Like all Akerman's cinema, this is a work of sublime ambivalence. It is a work of formal delights, but a perfect means to a profoundly felt end.
Dir. Chantal Akerman, 2006, 79 mins
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The final Chantal Akerman retrospective screening:
Akerman 25 - La folie Almayer
(aka Almayer's Folly, 2011)
Thursday 22nd October 2015, 8.15pm
ICA cinema
box office<http://anosamours.us5.list-manage.com/track/click?u=f60be4b81267fae37ffda37f5&id=6122637727&e=a5744971eb>
Almayer (Merhar) is not a well man. His house has seen better times and the jungle aims to take it back. His Malaysian wife is mad. Their daughter has been sent away for a better life and an education.
This is Conrad’s novel about the malaise of a prospector in the dog days of colonialism. Conrad would have his protagonist forget, forget his wife and daughter, and die happy. Akerman, as we might expect, allows her Almayer no such comfort. He will see the horror of it all and die in agony.
This is Akerman’s last foray as a film maker of conventional narrative, and the end point of the two year long retrospective. Almayer’s Folly is therefore. Unless Akerman makes another film, a swansong, a final statement. The metaphoric image of a film-maker sitting in the ruin of cinema is inescapable. Luckily Akerman has transformed herself into another kind of life.
Cast: Stanislas Merhar, Aurora Marion, Marc Barbé, Zac Andrianasolo, Sakhna Oum
Dir. Chantal Akerman, 2009, 127 mins
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Recent A Nos Amours articles and blogs on the web:
Akerman's Sound World<http://anosamours.us5.list-manage1.com/track/click?u=f60be4b81267fae37ffda37f5&id=c2cdf1edea&e=a5744971eb>
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This retrospective is possible due to the financial support of the British Film Institute, Wallonie-Bruxelles International and Film Hub London (managed by Film London). Many thanks to those orgnisations.
A Nos Amours is a collective founded by film-makers Joanna Hogg and Adam Roberts dedicated to programming over-looked, under-exposed or especially potent cinema. A Nos Amours is a moveable feast that goes wherever and whenever opportunities arise. A Nos Amours invites film-makers and others to advocate and present films that they admire or would like to see on a big screen. A Nos Amours believes in the value of watching film as a shared experience.
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