Her Brilliant Decade

Chantal Akerman on New York, mother-daughter bonds, and her '70s classics
by Melissa Anderson   posted Jan 19, 2010

Back to Article


Disgusting. Isn't it so very noble to steal from one's workplace to put towards one's art. After her starving stint at the porn theater & once she'd made a few dollars with film career in place, I wonder whether she tracked down her former employer to pay back those ill-gotten gains. Perhaps Ms. Akerman considers it just fine as one of her heroes, JLG, did the same, lifting from the till of Les Cahiers in the 50s. Egoist, careerist dirtbags, both. I'm a small business owner (successful independent dvd rental/sales outlet) & have found it so galling & spirit-crushing when members my staff (who I happen to take great pains to compensate well & treat fairly) have stolen from me over the years. Such moral weakness, & obviously a sickness, but one I've got no patience for. Such a shame when those you've admired in life, or in the case of art with Ms. Akerman, let you down.
Pierrot   posted 24.01.10


Fighting Words

Fighting Words
by Imogen Sara Smith
posted August 12, 2014

Fighting Words, Part 2

Fighting Words, Part 2
by Imogen Sara Smith
posted August 20, 2014

On the Margins: The Films of Patrick Lung Kong

On the Margins: The Fil…
by Andrew Chan
posted August 12, 2014

Robin Williams: A Sense of Wonder

Robin Williams: A Sense…
by David Schwartz
posted August 12, 2014

Eclipse from the Criterion Collection
Chantal Akerman in her film Je, tu, il, elle
Photo Gallery: Her Brilliant Decade


interview  |  Chantal Akerman  |  New York  |  Holocaust  |  Delphine Seyrig


Bordering on Fiction by David Schwartz
World of Wander by Livia Bloom
More: Article Archive


Melissa Anderson, a regular contributor to The Village Voice and Artforum.com, is currently writing a monograph on Jacques Demy’s The Young Girls of Rochefort for BFI Film Classics.

More articles by Melissa Anderson