Long, unmoving, precise and artistic shots; substantial quiet, and no music; dialogue ranging from unnaturally verbose and explanatory or direct to mundanely matter-of-fact and plainspoken; scene writing that joins the dialogue in being curiously dry and detached, at once personal and detached; performances as low-key as the overall tone is subdued: this is definitely a Chantal Akerman picture. Certainly she's not the only filmmaker to have employed such a style, and indeed at various points one recognizes tinges of comparable styles of other filmmakers. Yet as if her celebrated 'Jeanne Dielman' in 1975 hadn't cemented her panache for minimalist but masterful movie-making, and her penchant for hushed, idiosyncratically understated storytelling, this 1978 feature aptly accentuates these notions while trying a few slightly different ideas. For all this, I can understand how the title won't appeal to all comers, above all since on the surface there is very little happening over these two hours. Yet if one watches and listens attentively, as with Akerman's other works there are substantial, substantive depths that become more evident and more flavorful over time. 'Les rendez-vous d'Anna' is perhaps an acquired taste, but for those ready and willing to actively engage, it's a softly striking, rewarding viewing experience that's well worth exploring.
Akerman is a filmmaker whose tremendous skill and success lies in her absolute grasp of and proficiency in subtlety. All those outward qualities, that to the uninitiated or unprepared may come off as awkward or lacking, are part and parcel of a grand if decidedly underhanded vision. Thoughts broached in the dialogue - specifically as to personal relationships or musings on Europe in the aftermath of World War II - are obliquely echoed and amplified in the fundamental construction of the movie; for Akerman storytelling and film-making are emphatically one and the same, and that is proven again here just as surely as it was three years prior. Themes of loneliness, isolation, dispassionate malaise, and social and psychological struggles with communication, and a broad sense of undefinable hardship, are reflected in how characters are arranged in a scene, and where they face, especially as they talk to each other or touch; the camera may pointedly center only a single character for most if not all of a conversation, even when their scene partner is speaking. The themes are reflected in the transient nature of scenes, and the limited time that characters have on-screen with protagonist Anna; in passing sights of largely empty settings; in the almost completely static, stationary cinematography, that subsequently evokes a feeling of disconnected solitude. Even the relative noiselessness, and the restrained acting, lend to airs of separation, and being apart, and intangible distance. All this, to say nothing of the particulars of the writing in every regard.
And despite the overarching tenor, let there be no doubt that 'Les rendez-vous d'Anna' is superbly crafted, with capability, care, and passion belying all that the title portends. "Excellence" is the word of the day across the board when it comes to filming locations, production design and art direction, costume design, hair and makeup, and sound design. Muted as Jean Penzer's photography is, it's deftly calculated and smartly executed; Francine Sandberg's editing comes off as comparatively relaxed, yet is obviously characterized by no less intelligence. Even with the feature's tack being what it is, the abilities of the cast unquestionably shine through with admirable, controlled nuance and range, impressing all the more for consideration of that self-discipline. Naturally star Aurore Clément stands out most as protagonist Anna, but those in supporting parts are just as terrific, not least Lea Massari and Jean-Pierre Cassel.; what the actors are able to achieve under these conditions is kind of incredible. Above all, Akelman's gentle but meticulous direction and her wonderfully sharp writing are both frankly outstanding, a stupendous delight as a viewer both for how much significant thought was poured into them individually, and for the complexity with which they are interconnected. Not to again draw comparison, but as with 'Jeanne Dielman,' Akerman shows such a mind for shot composition and intricacy in conjuring and realizing scenes that it almost feels as though she had mapped out the entirety of the runtime down to the second.
Once more, I totally get how this won't sit well with all audiences. Akerman operates with such a majorly delicate hand in every capacity that one must most assuredly be receptive to such fare or else the entirety will come across as a whole lot of nothing. For those who are willing to put in a bit of work themselves to get the most out of movies, however, the profit to be had here is exceptional. 'Les rendez-vous d'Anna' is rich, absorbing, satisfying, rewarding - and maybe even a tad haunting in the ideas at play. Though best suggested for what is no doubt a relatively niche audience, as far as I'm concerned this earns a very high, hearty recommendation, and it's well worth seeking out if one has the chance. Well done!
Akerman is a filmmaker whose tremendous skill and success lies in her absolute grasp of and proficiency in subtlety. All those outward qualities, that to the uninitiated or unprepared may come off as awkward or lacking, are part and parcel of a grand if decidedly underhanded vision. Thoughts broached in the dialogue - specifically as to personal relationships or musings on Europe in the aftermath of World War II - are obliquely echoed and amplified in the fundamental construction of the movie; for Akerman storytelling and film-making are emphatically one and the same, and that is proven again here just as surely as it was three years prior. Themes of loneliness, isolation, dispassionate malaise, and social and psychological struggles with communication, and a broad sense of undefinable hardship, are reflected in how characters are arranged in a scene, and where they face, especially as they talk to each other or touch; the camera may pointedly center only a single character for most if not all of a conversation, even when their scene partner is speaking. The themes are reflected in the transient nature of scenes, and the limited time that characters have on-screen with protagonist Anna; in passing sights of largely empty settings; in the almost completely static, stationary cinematography, that subsequently evokes a feeling of disconnected solitude. Even the relative noiselessness, and the restrained acting, lend to airs of separation, and being apart, and intangible distance. All this, to say nothing of the particulars of the writing in every regard.
And despite the overarching tenor, let there be no doubt that 'Les rendez-vous d'Anna' is superbly crafted, with capability, care, and passion belying all that the title portends. "Excellence" is the word of the day across the board when it comes to filming locations, production design and art direction, costume design, hair and makeup, and sound design. Muted as Jean Penzer's photography is, it's deftly calculated and smartly executed; Francine Sandberg's editing comes off as comparatively relaxed, yet is obviously characterized by no less intelligence. Even with the feature's tack being what it is, the abilities of the cast unquestionably shine through with admirable, controlled nuance and range, impressing all the more for consideration of that self-discipline. Naturally star Aurore Clément stands out most as protagonist Anna, but those in supporting parts are just as terrific, not least Lea Massari and Jean-Pierre Cassel.; what the actors are able to achieve under these conditions is kind of incredible. Above all, Akelman's gentle but meticulous direction and her wonderfully sharp writing are both frankly outstanding, a stupendous delight as a viewer both for how much significant thought was poured into them individually, and for the complexity with which they are interconnected. Not to again draw comparison, but as with 'Jeanne Dielman,' Akerman shows such a mind for shot composition and intricacy in conjuring and realizing scenes that it almost feels as though she had mapped out the entirety of the runtime down to the second.
Once more, I totally get how this won't sit well with all audiences. Akerman operates with such a majorly delicate hand in every capacity that one must most assuredly be receptive to such fare or else the entirety will come across as a whole lot of nothing. For those who are willing to put in a bit of work themselves to get the most out of movies, however, the profit to be had here is exceptional. 'Les rendez-vous d'Anna' is rich, absorbing, satisfying, rewarding - and maybe even a tad haunting in the ideas at play. Though best suggested for what is no doubt a relatively niche audience, as far as I'm concerned this earns a very high, hearty recommendation, and it's well worth seeking out if one has the chance. Well done!