Chantal Akerman

In My Mother Laughs, Akerman’s pain while watching her mother’s health worsen becomes entwined with the shock of heartbreak

By Steven Zultanski
Chantal Akerman, No Home Movie, 2015. Courtesy: Icarus Films

‘Each hypnotic frame of No Home Movie lasts just long enough to allow our minds to wander, summoning recollections of domestic spaces’

By Hedi El Kholti

At New York’s Metrograph, a diverse film programme addresses a ‘central problem’ of feminist filmmaking

By Corina Copp

Encounters with the late Chantal Akerman's films

By Lynne Tillman
Jonas Mekas, In an instant it all came back to me, 2015. Courtesy the artist and A Palazzo, Brescia

Chantal Akerman, Jumana Manna and Virgilio Sieni: Barbara Casavecchia shares her highlights from 2015

By Barbara Casavecchia
Delphine Seyrig in Jeanne Dielman, 23, quai du Commerce, 2080 Bruxelles, 1975, 35mm film still. Courtesy Paradise Films, Brussels, and Marian Goodman Gallery, New York

An homage to Chantal Akerman (1950 – 2015)

Chantal Akerman, No Home Movie, 2015, video still

Über No Home Movie, den letzten Film von Chantal Akerman, auf der Viennale 2015

By Esther Buss
Chantal Akerman, Golden Eighties, 1986. Courtesy: Paradise Films

The British screenwriter and director discusses the films that have influenced her practice

By Joanna Hogg

In an ongoing series, frieze asks artists and filmmakers to list the films that have influenced them

By Translated by Nicholas Grindell

Galerie Marian Goodman, Paris, France

By Vivian Sky Rehberg
Derek Jarman, The Garden, 1990. Courtesy: Ronald Grant Archive

frieze asks artists and filmmakers to list the movies that have influenced their practise

By Tacita Dean