We are really excited to be collaborating with the BFI once again, particularly for an episode on Belgian auteur filmmaker Chantal Akerman as they begin an in-depth retrospective of her work.
In the autumn of 2022, Akerman's masterpiece Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, was voted the greatest film of all time in Sight and Sound Magazine's once-a-decade poll. <a href='https://cinematologists.podbean.com/e/sight-and-sound-s-greatest-films-ofall-time-2022-part-1/'>We covered that moment with a double episode</a> - which would be a fantastic primer for this show if you haven't listened to it yet.
The episode features a conversation in which Dario speaks to Céline Brouwez, the co-ordinator of the Fondation Chantal Akerman at CINEMATEK, and season curator Isabel Stevens. The discourse surrounding the Sight and Sound poll result and its aftermath as a cultural moment frames the chat. Céline discusses the incredible impact of the poll result on her organisation, and Isabel relives the night of the big announcement and the immediate shockwaves that ran through not only cinephile circles but the broader media.
We talk about how the moment caused a something revaluation of what constitutes "great" cinema, not to mention great art, and provoked something of a minor crisis in cultural gatekeeping, particularly with regard to lists.
One of the things that this BFI retrospective - <a href='https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=chantal-akerman&BOparam::WScontent::loadArticle::context_id='>entitled Adventures in Perception</a> - is keen to address is Akerman's body of work beyond Jeanne Dielman. We go into this in detail, talking through the elements of archiving, restoration and presentation. We think through the breadth of her oeuvre, which has few generic boundaries. And, of course, we explore Akerman herself: her formative experience, the influence of her mother, and her rigorous form borne of a commitment to artistic commitment and morality.
Neil and I then reflect further on the notion of a feminist/female cinematic perspective and the philosophical conundrum: can there be an objective definition of art?
As part of the collaboration, we have four copies of the Akerman Auteur series of Sight and Sound to give to 4 sign-ups for our popcorn-level membership (which is £6 per month). So, if you want to grab one of these, sign up or upgrade ASAP. As part of the popcorn tier you will also get a physical postcard from either myself or Neil.
Visit our Patreon at <a href='http://www.patreon.com/cinematologists'>www.patreon.com/cinematologists</a>
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Music Credits:
‘Theme from The Cinematologists’
Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

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