Almayer’s Folly

Somewhere in South-East Asia, in a little lost village on a wide and turbulent river, a European man clings to his pipe dreams out of love for his daughter. Working freely from Joseph Conrad’s debut novel, Akerman tells the story of a trader in 1950s Malaysia whose dreams of a Western life for his Malay daughter slowly lead to destruction. A quest for the absolute, a story of passion and madness. [Synopsis courtesy of TIFF]

No Home Movie

No Home Movie is a sober, profoundly moving portrait of Akerman’s mother in the months leading up to her death, when she was mostly confined to her Brussels apartment. A Polish Jew who survived Auschwitz, Akerman’s mother suffered from chronic anxiety all her life, an affliction that fuelled much of her daughter’s creative output and helped shape Akerman’s thematic preoccupations with gender, sex, cultural identity, existential ennui, solitude, and mania. [Synopsis courtesy of Toronto International Film Festival]

Un jour Pina m’a demandé

Chantal Akerman followed famous Choreographer Pina Bausch and her company of dancers, The Tanzteater Wuppertal, for five weeks while they were on tour in Germany, Italy and France. Her objective was to capture Pina Bausch’s unparalleled art not only on stage by behind the scenes.

The Captive

An adaptation of Proust’s “La Prisoniere” (book five of “Remembrance of Things Past”). Set in Paris, France, it is a serious tale of a tragic and dysfunctional love.