On a trip across Western Europe to promote her newest release, filmmaker Anna encounters several individuals—familiar and otherwise—and attends to their discontents.

Chantal Akerman explores Jewish American identity in this multilayered portrait of the immigrant experience. Shot in Brooklyn near the Williamsburg Bridge, Histoires D'Amérique takes the form of a series of first-person addresses delivered by a cross-section of Jewish New Yorkers, whose by turns tragic and humorous tales speak to a collective history of trauma, displacement, and resilience.

1975 Belgian film by Chantal Akerman

The main character, Michele, spends the hour discussing her views of life with some old and new friends, and tries to understand her own feelings about her place in the world and her sexuality, while a camera follows along at close range.

This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

A woman suffers a subdued psychological breakdown in the wake of a devastating breakup.

1976 film by Chantal Akerman

Chantal Akerman reads a script detailing the woes that befell her on the day she thought about "The Future of Cinema". The camera continuously rotates 360 degrees around her apartment as she rereads the script at an exponentially increasing speed. At its heart, an homage to Godard.

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.

A 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.

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

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.

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.

1982 film by Chantal Akerman

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.

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.

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.

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.

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 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.