Invented by the post-New Wave, the exercise is well-known: put a filmmaker in the frame, make him talk about his career, evoke his admirations, rummage in his methods, and add words to silences, spoken images to seen images. It’s always very instructive. As is the case here too. Chantal Akerman, passing through South America, talks about herself for an hour, and it’s fascinating. Even if her recalling of the relationship between the cinema and time makes up only a few rare minutes.

When asked to participate in the Cinema, of Our Time series, Chantal Akerman jokingly suggested herself as subject matter. She envisioned a film consisting solely of excerpts from her films, but when pressed by the producers to include footage of herself, Akerman grudgingly agreed, and divided the film into two parts. The first part opens with Akerman in her apartment, reading from a text directly to the camera, describing the problems she encountered making this film. What emerges from this mise-en-scene is a funny, often personal, and always thoughtful confession from this extremely perceptive filmmaker. Part two lets Akerman's films speak for her, taking clips from her extensive filmography and linking them anonymously until they form a new film. There are scenes from JEANNE DIELMAN, her best-known film, but also glimpses of several other works - forays into experimental film, comedic shorts, musicals, narrative features - including an early short that stars a very young Chantal.

When asked to participate in the Cinema, of Our Time series, Chantal Akerman jokingly suggested herself as subject matter. She envisioned a film consisting solely of excerpts from her films, but when pressed by the producers to include footage of herself, Akerman grudgingly agreed, and divided the film into two parts. The first part opens with Akerman in her apartment, reading from a text directly to the camera, describing the problems she encountered making this film. What emerges from this mise-en-scene is a funny, often personal, and always thoughtful confession from this extremely perceptive filmmaker. Part two lets Akerman's films speak for her, taking clips from her extensive filmography and linking them anonymously until they form a new film. There are scenes from JEANNE DIELMAN, her best-known film, but also glimpses of several other works - forays into experimental film, comedic shorts, musicals, narrative features - including an early short that stars a very young Chantal.

I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.

I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.

"My mother because, in one way or another, I talk about her constantly in my films, and often, I wonder if I have really worked so hard for her, about her, in relation to her, also my mother and her relationship with the movies, a relationship sometimes of recognition, sometimes of negation". – Chantal Akerman 　　In this 2007 interview, an off-camera Chantal Akerman interviews her mother about her films. The producers of the interview originally intended to edit out Akerman’s questions but ultimately decided to keep them in to preserve the candor of the mother-daughter rapport.

"My mother because, in one way or another, I talk about her constantly in my films, and often, I wonder if I have really worked so hard for her, about her, in relation to her, also my mother and her relationship with the movies, a relationship sometimes of recognition, sometimes of negation". – Chantal Akerman 　　In this 2007 interview, an off-camera Chantal Akerman interviews her mother about her films. The producers of the interview originally intended to edit out Akerman’s questions but ultimately decided to keep them in to preserve the candor of the mother-daughter rapport.

香黛兒阿克曼大部分作品，根據她的說法，都是因她母親對於大屠殺緘默的狀態所驅動。儘管如此，阿克曼的作品充滿聲響、樂音和舞蹈。她與大提琴樂手索妮亞結識後，兩人開始長達三十年的合作關係，相互啟發。本⽚以阿克曼作品影像和檔案影像組成，試圖找出出兩人的共通處與協作性。