Introduction and details of chantal akerman

Ackerman was a film genius when he was young. At the age of 65,438+05, she saw the famous director Jean-Luc Godard's pierrot Love and decided to make her own film. But after studying in film school for three months, she dropped out of school and taught herself film knowledge at home. 1968 was completed when she was 18 years old.

Samy Szlingerbaum, a famous screenwriter and director from chantal Ackerman and Belgium, 197 1 moved to new york and began to know something about American experimental films. In particular, her contact with michael snow, andy warhol, Stan Blaquis, Jonas Marx and other literary and art circles gradually established her own film style: pessimistic humor and criticism.

Her first feature film, I have him or her (Je, tu, il, elle), is a trilogy about self-reflection. Improvisation took only 8 days and the cost was very low. She went on to photograph Jeanne Dielmann (23 Brussels Business District, 1080). This film is not only the most important film in Belgium for a long time, but also one of the best "female films" in the world. In 2000, she was highly praised for successfully directing the controversial film Puzzlement. The film was inspired by the fifth volume of French stream of consciousness master marcel proust.

Chantal Ackerman, who lives in France, is not only regarded as one of the representatives of European film writers, but also one of the prolific Belgian directors. Her latest work is The State of the World, which was jointly directed by Thai director apichatpong weerasethakul and China director Bing Wang in 2007.

The characteristics of chantal Ackerman's films are: always putting the background of the pioneers into the feature film, and focusing on the concern about the feelings and life of contemporary women. Ackerman's creation is famous for using long shots to express the sense of time, skillfully using sound effects and correctly handling the dialectical relationship between authenticity and artistic capacity.

Chronology of Engineering Director:

The State of the World (2007) ...

La Paz (2006)

Tomorrow we will move to a big house with grandma. Déménage (2004)

On the other side of Autre Cote (2002)

Puzzled/Shower Captives (2000)

Paris Lover, new york Sofa/Paris Lover new york Sofa, new york Sofa (1996)

Tous les gar & ampedil Boys and Girls. Acirc General Electric Company ... (1994) ... (1set,1994)

Refuse to forget Contre L 'oubli (1991) ... (part of "A toast to Elizabeth velazquez of El Salvador")

Date and date (199 1)

Golden 80' s glass window (1986)

Jenny Dielmann Jenny Dielmann, No.23 Brussels Business District, 1080( 1975).

I, you, he, she/I, you, he, she, I love you (1974).

Take a closer look at my town, Sauter Marville (1968).

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Screenwriter:

La Paz (2006)

Tomorrow we will move to a big house with grandma. Déménage (2004)

On the other side of Autre Cote (2002)

Puzzled/Shower Captives (2000)

Paris lover, new york sofa and new york sofa (1996)

Tous les gar & ampedil Boys and Girls. Acirc General Electric Company ... (1994) ... (1set,1994)

Date and date (199 1)

Golden 80' s glass window (1986)

Jenny Dielmann Jenny Dielmann, No.23 Brussels Business District, 1080( 1975) ...

I, you, he, she/I, you, he, she, I love you (1974).

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Actor:

Her years in the sun/her years in the dark/her moments in the sun ... (1985)

Room 666 (1982) ... herself.

Jenny Dielmann Jenny Dielmann, No.23 Brussels Business District, 1080( 1975) ... Neighbor (voice).

Me, you, him, her/me, you, him, her, JE Thuille (1974). ...

Take a closer look at my town, Sauter Marville (1968).

Ackerman, the young film genius girl in chantal Ackerman, is a film genius girl. When she was 15 years old, she decided to make a film of her own after watching pierrot Love by the famous director Jean-Luc Godard. However, after studying in film school for three months, she dropped out of school and taught herself film knowledge at home. 1968, when she 18 years old, it was already.

Understand the film1971Sammy szlingerbaum, a famous screenwriter and director from chantal Ackerman and Belgium, moved to new york and began to know something about American experimental films. In particular, her contact with michael snow, andy warhol, Stan Blaquis, Jonas Marx and other literary and art circles gradually established her own film style: pessimistic humor and criticism.

Trilogy Her first feature film, I Have He She (Je, tu, il, elle), is a trilogy about self-reflection. Improvisation took only 8 days and the cost was very low. She then filmed Jeanne Dielman (No.23, Brussels Business District, 1080). This film is not only the most important film in Belgium for a long time, but also one of the best "female films" in the world. In 2000, she was highly praised for successfully directing the controversial film Puzzlement. The film was inspired by the novel Memories of the Past Years by French stream-of-consciousness master marcel proust, Volume 15.

Chantal Ackerman, who lives in France, is not only regarded as one of the representatives of European film writers, but also one of the prolific Belgian directors. Her latest work is The State of the World, which was jointly directed by Thai director apichatpong weerasethakul and China director Bing Wang in 2007.

The feature of the film is always to put the background of the pioneers into the feature film, and its content is concentrated on the concern for the feelings and life of contemporary women. Ackerman's creation is famous for using long shots to express the sense of time, skillfully using sound effects and correctly handling the dialectical relationship between authenticity and artistic capacity.

Chantal Ackerman talks about what kind of movies chantal Ackerman's Mom and * * * and Jenny Dielmann are? This is a three-and-a-half-hour film filmed by Ackerman on 1975. It is also a famous "feminist" film, and it is also a film full of revolutionary spirit in form and content. In short, Ackerman, a Belgian female directors who rarely made films, made this film in her early twenties, which was enough for countless film critics and film historians to set a monument for her. Its uniqueness and vanguard have far exceeded our imagination. I believe that I have never had such a wonderful viewing experience before, and I will never have such a wonderful viewing experience in the future!

The content of the film can be summarized in one sentence: the daily life of a middle-aged widow for three days (the film actually lasts from the afternoon of the first day to the afternoon of the third day, which is a little more than two days after careful calculation), the shooting method of the film is also "simple"-the fixed long lens (the choice of seats in the film is very strict, for example, there are two seats in the kitchen, so there are only a dozen seats in the whole film), and the movie scene is also very ". Is there anything special about the daily life of this middle-aged widow? Is it worth three and a half hours? In fact, 90% of Deilmann's life is ordinary: getting up, cooking for his son, buying food, knitting a sweater, washing dishes, making the bed ... Then the film takes more than three hours to show Dielmann getting up, washing his face, cooking, eating and polishing his shoes ... and all of them are "boring" long shots: no camera movement, no scene exchange. Compared with other movies, it's just vodka and boiled water. If there is anything special about 10%, it is that Dielmann receives a regular customer at home every afternoon. The film shows this "special work" with great care. This film would rather spend ten minutes "completely recording" Deilmann's washing several dishes and do it again the next day than take an extra shot here. The guest rang the doorbell, Dielmann got up and opened the door, helped the guest with his hat and scarf, and then they went across the aisle to the bedroom. The light in the corridor went out and then came back on. Dielmann and the guest walked out of the bedroom, Dielmann gave the guest his hat and scarf, and the guest gave Dielmann money. Finally, they opened the door and left. Less than a minute later, we walked into Dielmann's life, but her life is still mysterious and puzzling. The audience thought they had fully understood this woman, but she was far from as simple as we thought! At the end of the film, the camera suddenly cut into the bedroom, which shocked the audience enough to offset the "boredom" of three hours. It turns out that the director is trying to create suspense, rather than deliberately erasing Dielmann's "* * *" identity. On the contrary, the film reminds the audience of Dielmann's identity from time to time. Dielmann put the money given by the customer in a ceramic jar on the dining table in the living room. In a lot of time in the film, we can see this pottery jar juxtaposed with Deilmann: when Deilmann and his son are having dinner, when Deilmann is knitting a sweater, and when Deilmann takes money ... It can be said that this pottery jar is the object with the highest frequency in the film, and it has obvious symbolic significance compared with other frequently appearing sofas, pots, coffee pots, cups and other objects. If the identity of * * * is "special", then the identity of "mother" should be "ordinary", but the film has turned this "ordinary" into "special". Every aspect of Dielmann's life revolves around his son. He got up in the morning to make breakfast for his son, helped him brush his shoes, went to the streets to repair them, found buttons of the same model as his clothes, bought food and cooked for his son, and made the bed and washed the dishes. This film has been describing these behaviors of Dielmann. Ackerman is not only nuanced in image, but also most of the few conversations in the whole film are with his son. Other conversations about shoemakers, wool sellers and buttons are actually based on his son. My son recited Baudelaire's Enemy to Dielmann, and there was a memoir with a strong Oedipus complex, which was a hidden message set by the director. These hidden messages (what happened in the bedroom and what Dieleman and his son went out at night) are the director's "hide-and-seek" with the audience in space, and the image of Dieleman will remain in the audience's mind forever. She will always be a mystery, just like the sudden killing of a client in the end. Is it true or not? Accidental or inevitable?

Dielmann's multiple identities: mother, housewife and * * * are pushed to the center in the film, which is the biggest feature of feminist films. The feminist Annette Kong pointed out that in movies, women are usually constructed by society as "others" or "outsiders" in which men dominate the world. Women can't tell their stories because their images are controlled by men. Women are usually regarded as sexual objects, and only their beauty and sexual attraction are valuable. Ackerman's films can be regarded as a challenge to the hegemony of traditional male films. Women are the center of the story, and the male images of clients, including Dielmann's son, are portrayed as an extension of the heroine's life. In addition, the dead husband was completely materialized through the photos on the dresser in the bedroom. In a scene at the end of the film, Dielmann faces the dresser, and the photo frame is located in the lower left corner. In the mirror, you can see Dielmann's face and the client on the bed behind him. In this shot, Dielmann is the only "dual existence" with the subject (the actor himself) and the mirror image, while both the client and the deceased husband are "objectified" or "mirrored". Three-dimensional plane change, completely feminist perspective. Identity game is a value orientation that feminist films should strongly criticize. Just as Beauvoir famously said that "women are not born, but acquired", society has added the status of "woman" to women, so you must play the role of "woman" well. Dielmann's "dual identity" is a sharp irony. Society imposes two extreme identities on women: "mother" and "* * *". She wants to be both a good mother and a sex worker. We can see such a plot setting in many movies. In pasolini's Mother Rome, the Roman mother sold her body in order to make her son live a decent life. The main reason why this masterpiece of pasolini's "New Realism" period can't be regarded as a "feminist" film is that it criticizes class issues rather than feminist issues. Similarly, in elia kazan's East of Eden, the absence of "mother" and the presence of "* * *" reflect the pain and confusion of the son's growth. Here in Ackerman, the female image of Na Dielmann, who shoulders the dual roles of "mother and * * *", is really regarded as the main body of "centralization" rather than "marginalization", and the social and male roles become the foil. The Mystery of Jenny Dielmann also broke the single and rigid writing mode of female images in previous films. Killing the client in the end is a kind of destruction to "identity playing". This kind of destruction is violent and extreme. The rebellion we saw in jacques rivette's masterpiece Sailing of Selina and Julie is relaxed and playful. Selina and Julie exchanged identities several times (such as Julie's magic show instead of Selina's). What's more, Levitt also invented a "magical world", which allowed the two heroines to shuttle back and forth between the "real world" and the "conceptual world", and also made the film contain other deep thoughts besides expressing "feminism". Sailing with Selina and Julie is a feminist film, which narrows the scope, but Jeanne Dielmann told the audience from the first scene that it is an out-and-out feminist film. Mom and * * * is a kind of "Anna Karelina" or "Madame Bovary" female fate. Can such dogmatic rules really be solved with scissors like Dielmann? In the last scene of the movie, Dielmann is sitting in the dark living room, and the mottled blue neon outside the house covers the room through the shutters (it suddenly occurred to me that the protagonist's room in Alexandria Square in fassbinder, Berlin is also covered with neon, but only red). Silent for five minutes, this is Dielmann's thinking, but also Ackerman's thinking.

Jenny Dielmann's experiment in the film Time and Space is bold and unforgettable. What traditional movies want to do is to stretch the time desperately, and the time span in a movie is usually very large. The best is the montage in Kubrick's "200 1 A Space Odyssey" in which bones become spaceships. This is one of the advantages of film over drama, and the change of drama time is often realized through the transition between scenes, because it is "alive". Jenny Deilmann's dramatic style is very obvious. Such as changing the time by inserting subtitles. At other times, Dillman's repetitive monotonous life is arranged in the order of time axis. Time is put in the position where the director must ask the audience to experience and feel (when we watch commercial movies, we usually don't pay attention to whether it happens in the morning, at noon or at night? How long has it been between this incident and the last one? This film enlarges the time and shortens the time (relative to the psychological time of the audience watching movies at ordinary times). Maybe you will ask, why does it take so long to make a cup of coffee? But in real life, it may take longer, because the time of traditional movies is much faster than reality. Ackerman's experiment undoubtedly expanded the form of film expression. When we talk about "real-time movies", we can't help but mention that Agnes Valda's From Five o'clock to Seven o'clock is also a female directors movie featuring women. It tells what happened two hours before and after cleo went to the hospital to get the medical examination results (she suspected that she was terminally ill). Jeanne Dielmann goes further from five to seven than cleo, because the two hours in cleo are new and unfamiliar to the audience. The three days in Dielmann were mostly repetitive and familiar. Repetition and familiarity do not mean rigidity and boredom. Dielmann's life is full of unexpected things. Although most of these things are extremely common (for example, he accidentally brushed off his shoes on the third day), they are closer to the essence of life. In space experiments, we can see that Dielmann sometimes walks out of the picture because the camera is fixed. The traditional practice is to let the camera follow the hero and let the hero walk in and out without moving the camera. The film breaks through the limitation of that framework, which is not only as simple as "recording", but also as a challenge to the traditional film theory.

One by one, a long shot collages the three-day life of an ordinary middle-aged widow, one film after another wanders between simplicity and complexity, truth and illusion, and one woman after another struggles with the role exchange of "mother and * * *", which together make the most bizarre and unique myth in the world film history.

Chantal Ackerman, the protagonist of Chantal Akerman's films, is undoubtedly the most outstanding Belgian female directors. 1950 was born in Brussels, graduated from the Paris Higher Film Academy, and later made several short films and feature films in France, Belgium and the United States. After World War II, the narrative skills of European art films had a great influence on her, which made her concentrate on describing women's accidental experiences and accidents. She regards women's work, love and desire as the theme of long-term concern. The films she directed explored multiple narrative structures and produced various types of films (documentaries, musicals, diaries, etc.). ).

Her first feature film Me, You, He, She (Je, tu, il, elle) is a trilogy about self-reflection. Improvisation took only 8 days and the cost was very low. She then filmed Jeanne Dielman (23Quai du Commerce, 1080Bruxelles). This film is not only the most important film in Belgium for a long time, but also one of the best "female films" in the world. In 2000, she was highly praised for successfully directing the controversial film Puzzlement. The film was inspired by the novel Memories of the Past Years by French stream-of-consciousness master marcel proust, Volume 15.

The characteristics of chantal Ackerman's films are: always putting the background of pioneers into feature films, and focusing on the concern about the feelings and life of contemporary women. Ackerman's creation is famous for using long shots to express the sense of time, skillfully using sound effects and correctly handling the dialectical relationship between authenticity and artistic capacity.

Chantelle Ackerman, chairman of the jury of Horizon Unit of the 65th Venice Film Festival, is a 58-year-old Belgian director. Chantelle Ackerman can be said to be a film genius girl. 15, after watching Jean-Luc Godard's pierrot Love, she decided to make a film of her own, but after studying at the Film Academy for three months, she dropped out of school and taught herself movies at home. 1968.

197 1 year, Chantel-Ackerman and Samy Szlingerbaum, a famous Belgian screenwriter and director, moved to new york, and they began to know something about American experimental films. In particular, her contact with michael snow, andy warhol, Stan Braque, Jonas Marx and other literary and art circles gradually established her own film style: pessimistic humor and criticism.

Shantel Ackerman, who lives in France, is regarded as one of the representatives of European film writers and one of the prolific Belgian directors. Her latest work is The State of the World, which is jointly directed by Thai director Abichabon Velas Hagu and China director Bing Wang.

Three days later, on an extremely sleepy night, I chose Jenny Dielmann. This work, which is 20 1 min, full of fixed long shots and little dialogue, seems to make me take stimulants. This is a film that many directors want to make all their lives, but they can't. It is hard to imagine that the Belgian avant-garde female directors chantal Ackerman succeeded at the age of 18. Jeanne Dielmann, with a strong sense of form, faithfully recorded the daily life of the middle-class heroine for three days, and clearly marked "End of the first day" with subtitles. Directors often hide cameras in the living room, kitchen, bedroom and bathroom of an apartment, then turn them on, and then switch and broadcast live images. His shooting technique is static, monotonous and rigid, which perfectly echoes Dielmann's external lifestyle and internal lifestyle-this form itself is what Ackerman wants to express. We even saw such a "black screen" several times: after the hero turned off the lights, the camera remained in the dark for a few seconds. Ackerman likes andy warhol. In many of his films, the camera is aimed at the target and then runs automatically. Ackerman also likes Godard and Jenny Dielmann's The Hidden Edge. Godard's reflection on traditional middle-class women is very revolutionary in Godard's style.

This is basically an indoor drama, and it's a movie by delfina seliger alone-this beautiful European actress haunts alain resnais, Duras, Truffaut, bunuel and other films. In this film, she vividly interprets Dielmann, a puppet who lives in a highly mechanized and stylized way. Three days, to be exact, one day, she was recorded and ended her life. We watched her peel potatoes, peel one, put it in water and peel the other. The lens is full of real time, that is to say, the length of the lens is how much time she actually spent peeling potatoes. We watched her spread out the exquisite tablecloth and put knives, forks and napkins in front of her and her son's seat, acting like a waiter in a restaurant. We watched her eat with her son, wash dishes, knit sweaters, take a shower and comb her hair, and sit in a daze ... She would also go to a cafe and sit in a fixed position for a cup of coffee, but in the popular online language, she was lonely rather than coffee. Moreover, when she finds that someone is occupying her position, or the waiter she knows is not on duty, she is uncomfortable all over-when her life is empty to the point where only form is left, this form is her life.

I am prepared for the shocking tragic ending of this film. If you don't break out in silence, you will perish in silence. This kind of explosive destruction happened in fassbinder's co-director film "Why Mr. R Killed Crazy". The film also implicitly shows Dielmann doing * * * * with a set of repetitive movements at home-she introduces a strange man into the bedroom every day, then sends him to the lobby, hands him a hat, coat and scarf, and then collects money. Interestingly, Ackerman deliberately "draws" his head every time. The next action is that Dielmann puts the money into a delicate porcelain jar. If we understand Dielmann's sudden killing of a client in the abstract, what she really wants to kill is a "man". Let's look at the men around her: middle-aged people, widowed, do not love their husbands. The rest of her life began to revolve around her son-cooking for him every day, shining his shoes, giving him pocket money, and even going to the clothing store to find the same buttons for his clothes ... The rest were customers.

Beauvoir said that women are not born, but made the day after tomorrow. Ackerman is a feminist, but she is not as explicit as Catherine Bria. In the last few minutes of the film, when I was in a daze face to face with Dielmann, whose hands were covered with blood, I remembered a sentence said by the heroine in Godard II: "When you can't fall in love with a man, you can always leave him. But when it is a country, what should you do when the whole social system affects you? "