Chantal sex talk
It’s her mother who pushes her, her mother’s who’s more practical.
Maybe it’s better to get to know someone to be able to love them later on, like it used to be in arranged marriages. NB: You entered into the field of cinema on your own, without going through a school or institution or group, and little by little you’ve carved your own path through force of will, without ever compromising. In cinema, when you make a film, even for four people, anybody at all can enter the darkened theater; it’s democratic.
Or the De Menils, also from the Schlumberger family who, instead of locking their works up, founded DIA Beacon and transformed an old Nabisco factory not far from New York into an exhibition space.
But in the end, art usually serves the rich – the phallus.
In the heat of the summer of 2011, although busy with the release of her new film, Chantal Akerman offered all the time needed to elaborate on this interview – which she reread and corrected while scattering I don’t know throughout, to reject, with characteristic tenacity and exactitude, any pretense of mastery.
I have organised this wealth of material like a small, private encyclopedia, both alphabetically and chronologically, while interweaving commentaries on the films chosen by Chantal for the carte blanche series offered by the Nicole Brenez: A for Akerman, it’s logical.
Or unfortunately, maybe it’s not so hard to imagine. Maybe, yes, there are days when I tell myself that. Unfortunately, history has tended to give me reason.
In 1941, the Americans knew that the war was won, and they started to organise the escape of the Nazi heads with the Vatican. Today, the neoliberal lobbies insist that we cut the budgets for education, health, assistance programs for the poorest people – everything that makes the world livable.
Even when it’s exhibited, often in palaces, art becomes just the exhibition of a limitless ego. I’m not on-board with Polanski’s The Pianist (2002): art doesn’t serve a powerful purpose, it doesn’t reconcile people with each other. I sometimes have the impression that German Romanticism led to the war. CA: For many reasons, I believe more in books than images. In a book, there’s no idolatry, even if you can idolise the characters.Later, Mouchette is going to be buried, and the land is tied to the killing. Blanchot wrote a beautiful text on the Jews and nomadism in The Infinite Conversation: he affirms nomadism and the book.(2) No land, no killings: Blanchot explains that land equals blood and that the world is nothing more than an enormous cemetery, still bloody, while the book can be a bloodless land. CA: I was living in a maid’s chambers without heat. I was living at 86 or 88, rue Bonaparte, and there was no water.NB: For me, ultimately, I saw a film centred around primal feelings, a film about l’amour fou, a portrait of a man in terrible love with his daughter.Is it anything like an idealised portrait of your father?