A filmed adaptation of Rose Leiman Goldemberg’s play, based on Sylvia Plath’s intense correspondence with her mother Aurelia, from the time the poet was in university until her suicide. Delphine Seyrig and her niece Coralie Seyrig recite Sylvia and Aurelia’s letters to the audience directly.

Single woman Charlotte tries to write erotic fiction despite not having any sensual experience.

1973 film by Chantal Akerman

Six directors, six independent films, six visions on the state of the world. Each carrying a unique and personal interpretation of a specific experience, their crossover creates new space for a dynamic and radical inquisitive reflection.

A handsome, idle, and hopeless neurotic lives in a labyrinthine, half-renovated Paris flat with his ailing grandmother, a faithful family servant, and Ariane Rey, his willing captive, the object of his obsessive jealousy and unquenchable desire.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

2015 film by Chantal Akerman

1982年，比利时国家视觉艺术与传播技术高等学院邀请阿克曼担任一个学生工作坊的导师，她与工作坊学生一同编写剧本，并以总导演的身份创作了《洋槐旅馆》，讲述一名女子来到洋槐旅馆，她只给自己一天的时间找到她的爱人。

A young mother, alone with her daughter, confides in a friend who happens to be the director herself. Chantal Akerman, although she sympathizes with the mother, does not say a word.

通过融合动作、独白和常常引发暴躁和痛苦情绪的叙事元素，皮娜显著的舞蹈和精制的演出探索着个人记忆与男女关系。阿克曼以独特的视觉感触记录皮娜的舞蹈剧场在欧洲巡演的五周时间内包括《康乃馨》和《华尔兹舞》等彩排和表演，对皮娜以复杂个性和舞蹈才华为标准所挑选的舞者的访谈重点反映了前者提取后者自传细节以构建表演的具体过程。 (小易甫字幕组)

A tale of an occidental merchant, Kaspar Almayer, whose dreams of riches for his beloved daughter, Nina, collapse under the weight of his own greed and prejudice.

Hotel Monterey is a cheap hotel in New York reserved for the outcasts of American society. Chantal Akerman invites viewers to visit this unusual place as well as the people who live there, from the reception up to the last story.

Chantal Akerman a réalisé ce documentaire dans le cadre d'une série thématique de téléfilms sur les grand-mères. En écho à la voix de sa propre mère qui lui raconte ses relations avec sa mère et sa grand-mère, la cinéaste rend visite à trois femmes âgées d'origine juive et leur demande de parler de leurs aïeules. Assises dans leurs salons, filmées en plans fixes, ces grand-mères racontent leurs souvenirs, la vie des communautés juives avant la guerre, puis l'Holocauste, et les efforts pour survivre à l'horreur. Tout un monde, disparu dans les camps de concentration renaît au fil de leurs paroles. Face aux récits de ces vieilles femmes rappelant un passé que l'éloignement rend quasi mythique, Chantal Akerman a su effacer la mise en scène, comme Jean Eustache dans son Numéro zéro, pour laisser toute la place à la parole et à sa puissance évocatrice.
Dis-moi was commissioned for television – part of a series about grandmothers (Grands-mères, un série proposée par Jean Frapat). Akerman chose to talk with several elderly Jewish women – all of them survivors of the Shoah. Akerman has a terrible family history of her own – 'My mother arrived in Brussels in 1938 from a small town near Krakow. In 1942 she was taken to Auschwitz, just 30 miles from where she grew up…Her parents died there and most of her family' (from an interview in the Jewish Chronicle). Akerman’s mother Natalia, a teenager at the time, survived, a quite unimaginable orphaning.

A sensitivity to sounds coming from the activities of an unwelcome guest in the close quarters of an apartment is only one important component in this atmospheric, avant-garde drollery by Chantal Akerman. When the apartment owner comes home, her guest is settled in and at first, the slightly reclusive host decides simply to eat her breakfast in her room instead of having to face morning conversation with her guest. Sounds of the toilet flushing, the bath water running and splashing, footsteps pacing, and furniture moving invade the hostess' refuge in her bedroom like the frontrunners of an all-out offensive. She locks herself up for 28 days, life's detritus accumulating around her, just so she does not have to go out to face the nemesis that lurks beyond her door.

1982 film by Chantal Akerman

Jack and Julie live in a bare flat in Paris. At night, Jack drives a taxi while Julie wanders around the city, and in the day they make love. One day Julie meets Joseph, the daytime driver of the taxi, and soon Julie is spending her nights with Joseph and her days with Jack.

Employees and clients of a commercial gallery only live for love; they dream it, proclaim it, sing it and dance it. Experience the encounters, reunions, passions and disappointments of a malicious chorus of girls and a group of idle boys.

Two girls come to Paris for the first time and try to live.

1968 film by Chantal AkermanA young girl shuts herself away in her apartment and goes about her business in a strange way, as she wastes the night in the kitchen – humming all along.

Furniture and clutter of one small apartment room become the subject of a moving still life—with Akerman herself staring back. This breakthrough formal experiment is Akerman's first film made in New York.