When Chantal Akraman “Jin Delman, 23 Quai du Commerce, 1080 Bruxelles” – I announce the best movie of all time in Sight and sound 2022 poll-Premièred at the Cannes Film Festival, in 1975, was Akraman at the twenty -fourth, and got a raw deal. The film was praised as an instant masterpiece – through a few people who did not come out. It faced a similar praise when it opened in France, the following year, and after that, after special offers in the United States. However, the duration of the movie (more than three hours) and its austerity, which is its only oblique links with familiar species, left it, and Akrman, outside the general public. (The New York Film Festival did not program him and had no publication from the United States until 1983. However, Akraman was able to continue working continuously in the worlds of French and Belgian films, and I knew that follow -up in this movie would be a long arrangement. She told the American critic B. Ruby Rich in 1976: “I have achieved what I was looking for. So I have to find another way. I have to search for something else, I don’t know yet.”
In the following years, Akerman continued to produce films at a strong pace, including, in 1980, the exceptional documentary.Dis-Moi“About the survivors of the Holocaust. But in only 1981, the sixth year (after Delman), I created progress in a narrative form to compete with the previous work – in the movie“ Toute Une Nuit ”(“ One Full Night ”). Dielman “Providing a normal daily life for women-at home, in the kitchen-as dramatically by its nature, rich in history. Akkman achieved her second penetration through the perception of a movie in a radical contradiction with the first. A group of seventy -five), and during one night of the title, it is seen in the fragmented Microdramas that does not highlight their ordinary routine, but some of more than by the nature of the melodramatic moments in any life; they are romantic meetings.
After I saw Jin Delman, I saw “Toute Une Nuit” for the first time in Munich, in 1983, and I confessed to him as a major work. Returning home in New York, enthusiastic for years. Whereas, to my knowledge, I remained insecure here, I took almost a legendary state in my mind, to the extent that I wondered whether the scarcity and memory had amplified. Ultimately, confirmed a special offer (in the Française Alliance, if I remember correctly) and intensify my first impression. I have long wanted to write about “Toute Une Nuit”, but without editing readers with unavailable treasure. Fortunately, it is now available to broadcast on Criterion, which is the closest thing to a wide version that an unfamiliar classic can get.
Like “Jeanne Dielman”, “Toute Une Nuit” was filmed in the original Brussels in Akerman, but while the previous movie mostly occurs inside and gets the city’s life mainly, “Toute Une Nuit” is appointed with urban rotation. It provides expressive and exciting views of street life and public spaces, and its pictures often unify the interior and exterior designs, the home and the city in general, with views through windows, inside and outside the entrances. A few of the many characters were named at “Toute Une Nuit”. Most of them are seen shortly only in situations that have a few public connections to their professional life and their personal past; None of them has the historical depth of Jane Akraman. Instead, love itself has a history – and the design of dances to go with it.
“Toute Une Nuit” is a visual catalog of the material eloquence of romance, a dick for Roland Bartis’s book “A lover speech“From 1977. Just as Pathis sees the figure of romantic speech as characters adapting to lovers, and they imagine their way to, so Akraman clarifies romantic personalities – phone calls and doors, expatriates and departures, interested and embracing, riding the cabin and examining the hotel -in their cinematic identity. The intimate relationship in Akerman is the issue of structural poetry, from the euphoria of the analytical ritual. ) Although the actors are behaving, they have an ungrateful nature, as if Akraman was discovering their actions instead of organizing them. Along with and gets sick in a café, they wake up to departure and spread to each other’s arms as if he were in a face collision.
“Toute Une Nuit” is a musical thing, with a lot of actual dance: slow dances, in bars and at home, to romantic pop songs (which are repeated in the movie). However, the vision of Akerman is the geography in a broader sense, too: its incentive curiosity makes walking clearly and manage as a basic form of dance. Imagine in a handful of the non -injured Workday neighborhoods, capturing its representatives who move and wander the streets, and the stairs rushed and sneaked to them. Along with the intimate gestures of touches and earning, phones, doors and windows called the opening, coming and going at “Toute Une Nuit” (and according to what was reported, I watched Akraman’s work Bash in the year “Toute Une Nuit”; and the following year, she made her a movie Wonderful documentary about dance designer, “One day he asked Benna. . . “))
The same time has passed, from Twilight to Dawn, is the main line of the film, and is activated through the dramatic changes that you can turn to the night of love. The strength of one large night is highlighted by the repetition of many characters in a series of miniature rings that make up sensitive arches. The first, from among a middle -aged woman sneaking out of the house (and from a man) to check a hotel alone with an impressive imagination; Another, from an elderly man in his office, is making the books to hold the books during a single night, heading towards the strange tragedy; Third, from the man of insomnia, is the story of literary work. Another involves separating two men is necessary. The story of the tallest story of actress Auror Clement, who has previously played a kind of ego in Akerman, is highlighted in the 1978 drama.Les Rendez-Vous d’ana(Akreman’s middle name was Ann) Playing the scene like contrast in a subject by Marguerite Duras.
The movement of the film appears to have been diminished, “fictional” is “fictional” in an optical equivalent. To achieve this amazing tone – the contradictory method that appears to be charity procedures but it is comprehensively designed – the Akrman method is a type of cinematic fishing. You are waiting with interest, while playing the camera, for a moment when, as it was, the actor’s bites – when you give emotional accumulation a crucial gesture that it looks as imperative. The clips of lines and lengths that are still in a row are transmitted a strong unit of visual thought, a feeling of hardness without hardness, and the formation in pictures that have a complex balance of a piece of music. Along with the excessive excitement of gestures that witnessed a pianry, the film presents a sarcastic humor, as when two young people want to choose a woman between them (she does so exactly), and physical comedy, when two other couple leave a café together greatly that the beer hangs out, In uniformity of Busby Berkeley-asque. The date raised by “Toute Une Nuit” is, first and foremost, cinematic, with deep shadows, mutual high light, and intense colors of that night cinema with distinction: Noir movie.
“Toute Une Nuit” is completely designed in its sensory details as in its visual and exciting plans. The shapes of the fashion in the old school-the calm in the dresses, and the ties-budget men through the shock of their colors: burning in red, loud green, luxurious blue, yellow, and white yellow, which proves the mood of the work and puts its tones. There is no musical degree, because each of these circles and mobilization, escaping and lightings comes with their rhythmic graphic music from shoes that flow on floors and in the streets, exit and decision, opening doors and closing, chairs that wander, cars that arrive, doors, climbing,, And the doors of the doors, Motors Roaring, Qaqa Al -Raad, Hafiz is a newspaper, Qaqaqa, an addition machine – all the small noise that the night darkening is amplified. Even the respondents and go to taxis are part of this exciting synchronization on this hot summer night, which were timid to the magnetic attractions and change the desire.
The resolution and intimacy of the movement, as well as the sudden interruption of the circular centers of events and settings, keeps the film quickly, and leads to a feeling of calm enthusiasm. The film is crowded with its many nights of love to only ninety minutes, and unlike the three -hour “Jin Delman”, which, which, which, that, that, which, which,,,, that,, and, that,, and, which, Jessica Winter wrote On this site, “it can be intense, crazy, and very salted”, “Toute Une Nuit” is an entertaining movie that is not the minimum work. Her visual film painting is fits with an implicit melodrama in her stories. Akkman lovers are not shy and do not breathe, but they are firmly firm around the inner drives of their emotions. The famous Jean Kutuko wrote that there is no love – there is evidence of the only love, and Akrman is the most accurate investigator of love.
Akerman continued with musical plays and with romance, as is the case in Bausch Documentary and Broked Marketing (full of history).Golden eighties“I made documentary films and self -images, A strange phase comedy And quiet short films: Great Modramrama “Los Angeles,“Merge Proust and Hitchcock; for the last movie,”No home movie“One of the most painful personal cinema works. But” Toute Une Nuit “is her most amazing, most important and most complicated films. Here, too, she achieved what she was looking for and then started searching elsewhere. She corresponds to insomnia with her curiosity, And her wide creativity with her risk.
