PINNLAND EMPIRE: November 2022

Monday, November 28, 2022

Tuesday, November 1, 2022

THE SCHOOL OF CHANTAL AKERMAN: JOANNA HOGG UPDATED

Chantal’s voice, her face, her body, her life, her past, her ancestral past – all these are, for those of us who have travelled through her work, now imprinted on us forever - Joanna Hogg & Adam Roberts, The Guardian

Jeanne Dielman /

Archipelago

In part 12 of this ongoing series (click here) we looked at a few specific comparisons between Joanna Hogg’s The Souvenir and Chantal Akerman’s Les Rendezvous D’Anna which got me to dig out even more comparisons between the two filmmakers. Hogg does not hide her love of Akerman and how much she was influenced by her work (see the various quotes throughout this entry)

Enjoy...

I found the process of rediscovering her work in that slow way, over that period of time, to be incredibly nourishing. It actually made me think a lot about rhythm - Joanna Hogg, Criterion

Jeanne Dielman /
Archipelago

Jeanne Dielman /
Archipelago

It was either while I was making Caprice or shortly afterwards that I first saw Golden Eighties (1986) by Chantal Akerman. It had been destroyed by the press at the time, perhaps because Akerman went too rapidly from austerity to glorious Fujicolor exuberance. But why shouldn't she? I loved its theatricality, its bright colours, its rhythms and catchy songs, its seemingly simple romantic story told with an ironic, knowing eye - Joanna Hogg, Frieze.com

The Golden Eighties /
The Souvenir II

Golden Eighties was another film I watched in the early eighties that makes me think of all those musicals I mentioned before, movies from the seventies that were referencing Hollywood musicals from the thirties and forties but were doing their own - Chantal Akerman, Criterion