By Ivone Margulies
Margulies grounds her serious research in unique discussions of Akerman’s work—from Saute ma ville, a 13-minute black-and-white movie made in 1968, via Jeanne Dielman and Je tu il elle to the current. targeting the real-time illustration of a woman’s daily event in Jeanne Dielman, Margulies brings the historical past of social and innovative realism and the filmmaker’s paintings into viewpoint. Pursuing various yet similar traces of inquiry, she investigates an curiosity within the daily that stretches from postwar neorealist cinema to the feminist rewriting of women’s background within the seventies. She then indicates how Akerman’s “corporeal cinema” is educated by way of either American experiments with functionality and length and the layerings found in works via ecu modernists Bresson, Rohmer, and Dreyer. This research revises the drained competition among realism and modernism within the cinema, defines Akerman’s minimal-hyperrealist aesthetics not like Godard’s anti-illusionism, and divulges the inadequacies of renowned characterizations of Akerman’s movies as both easily modernist or feminist.
An crucial booklet for college students of Chantal Akerman’s paintings, Nothing Happens also will curiosity overseas movie critics and students, filmmakers, paintings historians, and all readers interested by feminist movie theory.