All language subtitles for I Dont Belong Anywhere The Cinema of Chantal Akerman Le Cinéma d

you I'm going

to put it in the oven.

Thank you.

Because the bad career
is not to be discovered

in my life.

Because when you're a
carrier, you're white and...

I've always done what he loved
me and what he interested me.

And I was told that from
the moment I was interested,

I don't see why I would not
be interested in others.

And I felt that it was in
New York that it happened.

No.

I don't want to tell you how
many times I've been threatened.

with my little dog in the paper.

With my brothers, I had five papers, it
was less interesting than the Valice.

But I found a ball. And I
was... ...what a hell...

...in a...

If it's not for our own benefit,
I have done it like that.

I gave a person, a friend, a person. A
friend, friend, and a lot of other people.

And I didn't have my fucking money.

become sound.

So, with that I made the
room so much more room.

I was 21 years old, so
I was very permeable.

I was

able to do a world that
was absolutely fascinating.

The world of the experimental
cinema, the world of novelty,

the world from a new theatre.

and this world is my family.

You mean I showed my city to Jonathan
Smeckas and he loved it a lot?

It was a world that completely

moved my head.

A small white flag.

We'll get the sun.

and three as a coward.

I'll stay in the car.

Attemptive.

I'm going to be going to get my mother.

I did not have the blue-white
hair the first day.

I wanted to do it! I killed him who
was a text I wrote in Paris already.

When I said, eight years...

The day when I decided to kill him,
I wanted to do it in 16,000 meters,

I ran into the hotel and in the
corridor, there were lots of dust.

big boat like that, youth and
it was boats of 300 meters.

black and white,

from the 35th Pellicule.

I was in a hurry and I
walked on the street,

coming from the man like that,
and all these woods were heavy.

I hid under my bed, I was very
scared that the police would come,

but nobody would be able to
get these woods out of the way,

it would certainly be the worst film
ever. And with that I was able to do it.

Where are you from? From Switzerland.
From Paris and wetland. Sweden? Sweden.

You should go also on the Brooklyn
region beautiful. Portebridge?

Yeah, we go in the other
town. To the north.

I lived here when I was much
younger in 70, from 71 to 73.

I know I'm living between here.
Paris, Brussels, Israel, whatever.

I'm a nomadic person.

What's going on with News
from OV? It's just...

As I wrote to my mother, and she
wrote to me, it was the kind of person

that you had a hard time, that you
didn't have a cold, you sent $20.

I'm keeping all the letters.

And when I did it so much, I
went back to Belgium to do it.

And then I came back here.

And when I was in the plane,

and I'm going to go to the North.

I've seen some of us already.

And this immensity, and it's
the letters that talk about it.

de maladie de...

of my little sister who had
managed to get her exams,

of my heart that was worried
for the affairs and all that,

of this small doubt that all of us are.

And I saw New York and in
a second I had the idea

that I was going to film New York

and put letters in...

and we start slowly to read.

and my mother's truck had
sent me, but sometimes,

there was so much noise that it would
cover, and anyway, what would it cover?

That my sister had managed to
study, or not, or to study.

It would cover the world
as soon as everyone knew.

So, after all, when a girl had
disappeared, there was no lack.

Thank you.

I'm going to make a random video.

I'm in the back as a coach in the state.

I think it's been so
long for your money. I

hope you can do it.

I'll see you in a few things.
I'm always afraid to let you go.

She comes all the way to get her to the
bathroom. So I'll ask for something.

I'm not going to return our home to the
garden. It won't be a problem. We had a job.

I'd run every time I couldn't.

Now we're going to leave. I hope we'll
get out of here a few days later.

For the moment, I don't feel good. It's
not a moment for me to be in the summer.

I'm a fatigued, I'm not strong.

Maybe I'll leave a few days
to rest before the holidays.

I'll be back tomorrow and thank you. I'll
answer soon. You're a son of a bitch.

My little daughter is in my thousand-fold.

She's not a father. She's a family of
a family. I want to see my mother.

It's time you love her.

It's a love letter.

in the plot.

in the flatitude. It's a sacrifice.

Fade de jella.

I'm sure I'm not a mother.

was the center of my work.

Because now my mother is not there.

There's no one.

And that's why I'm not...

I'm scared. Do you understand? Because
I tell my name, my mother is not there.

Is I ever something to
say? A-Jerika. Yeah.

I want to be in my arms.

But you know what?

I'm going to come to the
third week of September.

The third mummy.

Bon j'étais en bras, m'amique. Bon
c'est bon, c'était prêt. À toute suite.

Bezou!

I will remember... I will make it.

I'm sorry.

He thereby always passed
through a village to get

to the forest and there,
at the foot of a tree.

And it was always the same one, he
began to pray and got hurt him.

His son always passed to the
same village to go to the

forests, but he could not
remember where the tree was.

So he prayed at the feet of any
old tree and got to hurt him

His grandson did not know where
the tree was, nor the forest,

so he went to bring the
village and got hurt him.

His great grandson did know where he was,

nor the forests, not even the village,
but he still knew the words of the prayer,

so he prayed in his house
and got he hurt him."

His great grandson did not know
where the tree, nor the forest, nor

the village where, not even the world of
the prayer, but he still knew the story.

So he told it to his children.

God hurt him.

My own story is full of
missing things, full of gangs.

And I do not even have a child.

you

you

I'm a born in August 1915.

My parents had immigrant polonia.

Hey.

It was the month of the
century and it was...

That's what it is after the war, 45.

And...

I was born in my mother.

We have a little bit of a vacation.

and my mother, her mother, on the old
woman, otherwise I wouldn't have loved her.

and the survival of a
bizarre, now I think.

I'm going to choose the discos

I think he has arrived at what he
has done. He never talked to me.

I wrote a moment...

I talk to him, and sometimes

I just say that...

by the contrary.

I don't know if he sent it.

A film like Janiel Man.

the view.

It's a huge...

If I don't do that, it's
true that she is recognized.

and that all the people, that
many people of this generation,

and many of these middle-aged women,

And...

It was a world of the

hell.

Petition.

We want to know what we're doing, what
we want to see, what you're doing in

the next five years, what will you do
in a minute, what'll happen next week.

And I don't know how, I don' know what

it was, I'm not sure how it felt.

Because it was also without
doubt, sent to the face

of women of this generation
coming from this world.

A kind of mirror that
was not necessarily...

something that made them happy.

you

I just need to learn, I
have to read my books.

someone told me last week

so she never told me that my mother
took piano lessons in a certain way.

And then I got my daughter
and I was a German girl.

And I was lying in the wrong way.

something I feel like and of this tent.

And

something that doesn't let any
place to go to these piano courses.

and in any other place, that
is, that the repetition,

the opposite side, the
closing, the collage.

the cuisine.

The first film I made, for
example, in my life, was a world,

and it was almost all in
a kitchen, but it was the

destruction of the world.

It was called... Sout my city,
but it was also Sout My Life.

It was, in the background, the destruction

of this world that my
mother was trying to,

trying to her, she showed me.

I'm sorry.

You!

Bye.

I'm sorry.

That's it.

BUUUUUUUGH!

Ha!

When we made last days in particular,
we were inspired by Jean Dielman.

I'm gonna go back to the car.

doing.

Paris rewatched Jean-Dillman
and we were working in a house.

So he was very much like taken with the

sinographic aspects of
the way Chantal Ackerman,

like positioned the camera
and looked at characters.

She seemed to be looking at

architecturally.

And there were specific
angles that she was shooting.

They would be looking directly
parallel to the wall.

There wasn't any sideways shots.

And in that cinematography, we started

to think of our film in that
way, in an architectural

representation of the
room and the characters.

we usually put the... the camera
like 36 inches or 38 inches up.

And whenever a character
was in a particular room,

the camera would be in the same place.

And it was pretty much that
was the main inspiration.

you

you

You said you were going to work, you
already worked. We were already working.

Rack,

what happened? Rack worked
the end of Saturday, because

we showed it,

and we had asked if we were on
long-distance, we had chosen.

We even said that it was a bit too long.

And it was quite a change, because
we really wanted to go on a tour.

So the first plan we did was
successful. So here we are.

And the second cup we made...

We said that's worth it. Yes. And

we waited a little bit.

And we were told that there was something
less strong. The plants looked like fads.

Everything was more tense. When the
plants were left with millions of others,

without feeling that the
other was left with them?

that the plan is obligatory.

It's just there, like that, because it's
beautiful. But it could be another, or...

If there's something that can happen,
it's not something, there's a liberation,

or a... a connection to get
it back. It's not anything.

A connection is something.
rhythmically, at a level of...

This is a war, for example. We start with
something really violent and threatening.

and after a man was shot in a cell
in a single cell in an unknown cell.

Well, that's where we had
already taken about 30 seconds.

Yeah, maybe more. Then,
the mission didn't exist.

I've seen where they've
mentioned real time.

Mm.

as in talking about Shantal.
But I think that she...

sort of rejects real-time, you know,
she calls it her time or my time.

Um.

which I guess is true.

Just by not worrying about time, you all
of a sudden enter into this other realm of

of, you know, against cinema time.

I'm sorry.

I'm gonna eat it.

We'll be right back.

shooting for a long time from
one angle starts to emulate

the real time that might
be happening in the room.

And it also takes advantage of whatever
that is that's happening in the

room.

and which would be usually the actors.

whatever they're doing
becomes like sort of hyper.

Um

Uh.

authentic because there isn't a
manipulation via like editing.

You leave that you sort of
leave editing out of it.

I turn the scene. I

don't want to show my hand to show her...

...that...

If the bag is important, I'll
ask him to put his hand there.

We can see it, but I
don't want to look for it.

I film the scene and I need
people to feel the scene.

For example, when I love a
film, I forget to feel it.

I forget it. The big American
writers forget to do that.

He does not leave the spectator

in a free movie.

And that's a good thing to
teach. And I'll tell you.

I hope the viewer will
feel free to feel free

by this film and not only to understand

in cinema that I do, it's going to happen.

by that, it's the two of you, try it.

You know it's going to be crazy.

It back good. It back.

I was in a room apartment, I worked on a
film by Mario Monicelli and I was on tour.

She went back and I don't
know if she was open,

she went back, I was at
the top of the city.

I saw her, I felt like I was coming to
the room like that. Is that like a mallet?

And then she started talking right away.
I don't know exactly what she said.

She told me about it. About it.

Well, I think you're not the character
for my film. You're too young.

I don' think it's not a second, but good.

I don't know the character,
I don' t like that, etc.

I found that, I found it a
serenity, absolutely incredible.

And I was right next to her. And she
came to me when I was in Paris. And...

And... And that's

where she told me.

Then you go, we're going to work
together. I said, well, then yes, I agree.

Let's go.

My mother called me. How do I get
here? I'm sorry, I don't know.

It's you who

came to present this
rock-sleeve film? Yes.

Do you realize that? You say that, right?
You have to be passionate about the job.

Is there a phone in the
room? Yes, of course.

But it's cinema, it's her, it is
cinema. And people who are with her too.

All of that is part of it. It's
a little of the role of Chantal.

There's Chantal,

it was Chantal

We feel that it's necessary
to arrive at what she says.

There is no acting direction in a
certain way, but it is so what it wants,

it's you, on the frame.

I can almost say that I'm going to go and
tell her to go back. We're going back.

It's like he decides...

I'm going to be back.

It is very precise if
it is just because we

don't necessarily have to force ourselves.

It is all from the beginning to the top.

The noise of the sound of
the guitar is very high.

Mr. Hitchcock, when he
talked about the height

of the talons or the color of the shoes.

I don't know how she's like a median.

So when he said that with her
grids, she had to put black shoes,

and what white shoes,
that we can understand.

But when Chantal says
the size of the Talon,

the height, the talon and the large size of
Talon that correspond to a very precise,

and very tall talons, the
size, the size. It's Chantal.

I was so happy to work with her.

She took me so much, and it was so
much in the sense that I loved her.

I found her working on the
femininity, on the body, I loved that.

I realized that I was with someone
who took me, something I knew was,

for me.

I'm just a little bit of a guy with me.

It's not cool, because I did it with John.

And finally, I found this way in a
singing room, in working with a singer.

So before I was, I could go...

It's my tenu, it's my doni, accord.

I feel more like a parent than a
parent. I never felt like a child.

Security door.

I'm certain that it influenced
me in the way I turn.

Of face and of right. And it's linked

to the fact that I'm a real man,

and that I saw things like that.

When I look for something and tell
myself that it's just for me,

I don't think about it at the moment,
but after I watch the film, I say,

I know why I'm trying to say that.

It's because it reminds me of
my childhood or my adolescence.

you

I find that Brussels is
contrasting with sometimes,

this pain, sometimes this sadness,
and sometimes this joyous joy.

I turned all night and broke
up because it was really...

in the light of the light that I wanted.

I'm a man who is a man,
who is an artist, who

has a lot of people, who
are very close to me.

I'm never a man or why not? I'm not
even afraid that I should be a man.

I could be a person, because
obviously you can do it everywhere.

But for me, it was a brilliant night
in these years, in the 80s again.

Before, it was heavy, people were living
in the old house, sometimes alone.

They were all alone,
living in a old house.

And I, as a young girl, I was afraid
of what. It wasn't part of my world.

But it was part of a certain Brussels,
that, as I was not at school,

From 16 years old, I came to
the city, I learned to know.

I was in my neighborhood, just
a phrase, a phrase there,

a phrase where I was all-you
know, little things that...

of a little sequence.

And when I turned my neck, but I said what

would be great is to
make a fragmentary film.

who has a lot to do with love.

I'm a little bit scared
of the wind, I'm not

afraid of the rain, I can't see the wind.

LULK!

I'm so sorry I don't need that love

I'm not a fool You can't
be on your own I don' know

I'm sorry I'm too much To show you

you

I'm sorry.

this is freedom!

that we'll give 68.

It was also, even when we were free,

that is to say, we were not going to get
married. We were able to meet anyone,

one night, one night
without anyone, another

night. Also, it was a break,

it was... a celebration,
but at the same time, it...

I know what I mean by the random ones,

well, Anaela, all alone for a night, to
show these films, she tells someone,

they're going into a big room, and
then a cool dimming of Sam's dad.

and never put me.

or a contour in front.

We'll be back with a new video.

The impression will be something good.

Let's play all alone.

El-di, rabi-jé-vo.

I'll see you all soon.

Is it always like that in life?

No, you don't have

to say that.

I will accompany you often,
but I don't want to be angry.

It's last bus.

But I don't think it will be you.

I think I'm not saying anything.

and in a way of my imagination.

Saviñić.

I thought when I took my
hand, I would say I love you.

So I'm going to take the ball to the rest.

I remember when we presented
the film of Chantal,

during the Vudana, I remember that
Delphine was coming with Chantal.

And Delphime said, Err, you
must not watch the film.

I said, why? I said I'm tired. I can see
the films. I can do what we did together.

I said no, no, I don't want to. I'm going.

Well, I'm going. The room was
full. People are so tired.

And then at the end, I remember a
journalist who knows me well with Chantal,

he had to cover me with his train-chot
to get out because people attacked me.

The Chantal movie, at that
time, it wasn't easy at all.

Elma Di, the Mayfork-Tutornai.

you

With me, you're crazy! This was

terrible!

Every time we asked to put my
film in a festival, I said no.

I don't want to go in the festivals, I don'
want to dance in the festival of women.

I don''t want to be in the Festival of
Juve. I want to get in the Festivals.

That's all. I did it.
It's cinema. That's it.

You'll see that in this time.

People could not have movies like that.

They still don't have the same things.

Um.

But I think that Chantal's
films will always

stand on their own as the things that they

are, the sort of works that
they are which are valuable.

And I think the young filmmakers
will find them and popularize them.

I think.

I hope.

No matter what they put on stage.

In life. That people come to see.

Their films, for example,
the film I'm just making now.

If I have a dream, even
if they don't tell me

anything for a year, I
would be very surprised.

Because I know that the film
is a very serious form,

that people don't want to see, and
so I know they can't do anything.

But there are films where you
say, yes, it's a potential.

you

you

What there is is that when you do
everything, like Pinching, Machin, etc.

to make the show, that's
all, because I do the movie.

Exactly, as I wanted to
do it, I didn't do it.

I didn't make a concession in the film.
This is brilliant just give as a blues.

What a pity, I like it. I got it
for you. And for you what's good?

I think so too, if it didn't
have to be a sign, I'm a joke.

Man, I don't know if I live... Proud?

A lot more people would come,
because people... I'm my public.

It's not a female mental, it's a German,
and the other public is not coming.

I'm sorry for the two sides.

We are three!

Be at least!

Petri!

Beatrice? Beatrice. Beatrice!

I remember that I was going to get a
drink and I was about to go out with her.

And as I knew she wanted to do a career,
we were like, I'm a little bit nervous,

I said, we're going to do it
around here. So what do we need?

We're going a party room. We're gonna
do a party, we'll do a room room,

between the people living
in the border, and one...

a psychoanalyst, totally we say
in English and in the same way.

Oh, don't need a sissy, can I not?

And once I had an idea,
it was so easy to write.

And then we ordered William Murt,
as we could need him by a prisoner,

the two excited.

You don't realize how to...
You don´t realize how...

I told myself with Julia and William
and Tomé, that it will be more and more.

the first week.

William Finzen with

Capulet.

He invented so much that the
scene would be 7 minutes.

I say, William, listen,
it's great as a proof.

But it's a comedy and it's very written.

And all I want is to be like
in the writing, not more.

So he told me what he wanted to say.
I just have to write what he wrote.

And only that.

I say yes.

So, I mean, it means that I
am very bad at this movie.

So, listen to me, I prefer
that you are bad like me.

Silence of death on the plateau. So,
yes, yes. I'm going to go to the port.

The port must be open and I have to see
a good point. I said yes, that's it.

With which foot I lift, the
right foot or the left foot.

I said, like you want, and William?
No, you have to tell me what foot.

So, with the foot, three.

No, it doesn't work. I've already
calculated the name of the foot.

I have to go with the left
foot. With the left feet, go.

There's a dance in every single week.

So he said what I wanted.

So I don't know if it was to
see if I had already given him

that if I was enough to give him
and that he was in the right way.

He could trust me because
everything was in his own way.

Or is that what he wanted to
do? Then he was like a new.

No, no, no. No, No, yes, yes.
No, it's not a joke. No, I'm not.

No, please, please. I don't
know how to get a problem.

You don't have a problem? No, but I'm going
to get it for you. You don' t want it?

Bye bye. Bye bye!

You're my clear-rate!

Yes, it's okay. And you?

When I get back from
Brussels, and I get to

know that there was no
more Brussels for me,

almost.

I will be all day long.

Shit. You see, I

said, I never saw a male.

Yeah.

Oh

you

And yet, not today.

No.

I'm not gonna...

is deep, the man.

I think there's something that
should be used in cinema schools.

These are the rocks of this film. Because
I'm talking about movies all alone,

there are many things, many
situations, moments with its mother.

And it was obviously all alone to
film. There was this little camera.

She didn't have a foot, of course.

And so she installs the frame and all
that is filmed. And so, we start...

The camera... We start to be...

...ported, we feel like a
bunch of noises, like that.

And all the time she takes a table,

and then we see a huge table size, and
all of that. And her mother passes away.

And we don't understand how things are
going. And everything is going to be a mess.

And we don't know how to do it. We don't
really know. We know just that it's there.

It's out of there.

I always say that there is a documentary
in it and that a documentary is in it.

Simply by the 4th page, you
have to keep the fiction.

When

I did the BAS, because
I didn't want to make

this film because it was
the producer who said,

Chantat will do a lot of Israel. They
will say that they are a little sad. So,

But I was in a apartment where I
took my camera and I saw a plan.

So I said that's not the same thing as
Israel, it's the same that it's filming.

If my great father is a descendant
of the Abbey of Belce, then I too...

...I know to see if
I'll be back. Yes, yes.

I feel... no, no more. What is it
that you feel like? I don't know.

In fact, I realize that
I know more than I think.

I remember Rallout Sim, it
means Piony, Rallot Sot,

Pionier, Ravirin, Camarad,
Rave Road, Camara too.

Ramuda, Motech, Sherry, Minion, Maim,
Miam, O Mair, Ima, Mair. Kova, Chapou.

I get almost a conversation
with the brothers.

I get along with the Russians,
and the word tells me, I get more.

So I say, to the man who opens the
door, I don't speak the brothers

If I were here, my mother would have been

playing in the street
with the other children.

Bruceelle,

she didn't want to. She was scared.

If she had let me go, I would not
have stayed for hours by the window,

the other children played
ballons or the marael.

In case of the window I would
have been left on myself.

Here I would be saved,
I'd be written here,

here the child and the
king as an American.

Now I have taken the habit of looking by
the windows, I look and I even left myself.

Hey, Masako.

I'm a fan of music.

and I just came to see
me for the last time

She said she was a huge artist, and I
didn't want to make an installation.

I wanted to make the artists' art.

And

since the end of the year,
she's going to pay this film.

So I said I could do
something on the rest.

I'm a little bit more.

Oh, man.

Where are all the things?

You're so beautiful.

So be so, be so.

Oh!

So it's like that, it's
a kind of a legend.

He said that he liked
this new artist video.

He didn't make me feel comfortable
with the German and the F.

Because this video was in the whole world.
This installation. The Fiction Board.

There are 24 screen, which

will be three.

And the 25th is the one you see in the
black, it's the Paris-Désôtre part-air,

in a calm sun.

and to be able to get to the film and
work and to get the film from the hotel.

You will not be able to see any
corner of what is in the sky,

or in the sea, or in
water, or under the sea.

You will never be able, to see a
front line, you will never love it,

because I, the eternal, your
God, I am a God of the water,

who, for the crimes of the Father,

on the children, until the
third and fourth generation,

for those who are in my mind.

And when I do documentary, I want
to go without ideas, without

nothing to see, and just be
there, be like a sponge.

ask what you have done, I always
say I don't know, it's true.

If we go without a clue, there's
something else that's going to happen.

More subtle, less white and
black, more open on the world.

And also

more in the vocation.

and that we

do travelling, we show very slowly.

We know people waiting for the bus.

For me, it's something else that
people waiting the bus for.

For me, it's a vlog of people
waiting for death. Waiting for it.

You're welcome. We'll talk a little bit.

In Maniaqat-Biz. And

then if I film on the United
States and I show you three trees,

on the other side, we can't prevent
it for me to think that one day

there are black and red
trees that are painted.

At these trees, we're going to burn them.

With my way of doing it, I hope you...

I'll see you guys in a bit.

that we are talking about.

and something that is in the body
of the other, it will not happen.

We were in the south, we filmed a road in

the back, we were in this 8-minute road.

It was a road where there was a hill
that was destroyed in 10,000 morts.

Behind a big up truck.

It was 3 white, it was almost like a
massive, it had to be attached there.

There was a good...

They are sick, they are sick. They are
people who are sick and they are people.

And we just put very very
slow and fast steps.

And on these steps there were still steps.

And there were steps.

And there was something that
happened to them in their own way.

by the vocations and by the duty. And
not by showing the choice of the game.

I'm sorry.

Because we saw everything
and nothing else was

left of us, like we said in the churches.

And that's why I think that from the moment
we had the school, the concentration,

and the things we couldn't show.

and it was my fault.

And that there was a school,
I think, in our civilization.

European.

And what will be the same after that?

And if I think I'm a victim,
that's the way it is.

because there are things
we don't show you.