"Comparable in force and originality to Godard or Fassbinder, Chantal Akerman is arguably the most important European director of her generation." - J. Hoberman, The Village Voice

"The films of Chantal Akerman are the single most important and coherent body of work by a woman director in the history of the cinema." - Film Center Gazette of the School of the Art Institute

In 1976 the French newspaper Le Monde heralded Chantal Akerman's Jeanne Dielman 23, quai du commerce, 1080 Bruxelles as "the first masterpiece in the feminine in the history of the cinema." The unconventional style and subject made the film a powerful sign of a decade when feminism erupted into the arena of politics and film.

Akerman the filmmaker came of age at the same time as the new age of feminism, and her films became key texts in the nascent field of feminist film theory. Feminism posed the apparently simple question of who speaks when a woman in film speaks (as character, as director ...); Akerman insisted convincingly that her films' modes of address rather than their stories alone are the locus of their feminist perspective. The many arguments about what form a "new women's cinema" should take revolved around a presumed dichotomy between so-called realist (meaning accessible) and avant-garde (meaning elitist) work; Akerman's films rendered such distinctions irrelevant and illustrated the reductiveness of the categories. - Professor Janet Bergstrom, UCLA, in Sight and Sound

Born in Brussels, Belgium in 1950, Chantal Akerman is a filmmaker whose work gives new meaning to the term "independent film." An Akerman film is an exercise in pure independence, pure creativity, and pure art. The viewer must give him- or herself over completely to the experience of the film, to watch with open eyes and an open mind. To label Akerman's work "minimalist" or "structuralist" or "feminist" is to miss most of what she is about. Strong themes in her films include women at work and at home, women's relationships to men, women, and children, food, love, sex, romance, art, and storytelling. Each Akerman film is a world unto itself and demands to be explored on its own terms. Her films are the subject of two recent books: Identity and Memory: The Films of Chantal Akerman by Gwendolyn Audrey Foster and Nothing Happens: Chantal Akerman's Hyperrealist Everday by Ivone Margulies.

First Run/Icarus Films is proud to distribute four films by Chantal Akerman:

• From the Other Side - With technology developed for the military, the INS has stemmed the flow of illegal immigration in San Diego. But for the desperate, there are still the dangerous deserts of Arizona, where renowned filmmaker Chantal Akerman shifts her focus.

• South - The heart of this journey is the brutal murder of James Byrd, Jr in Jasper, Texas. But this is not an anatomy of his murder, rather, it is an evocation of how this event fits in to a landscape and climate as much mental as physical.

• Chantal Akerman by Chantal Akerman - A self-portrait by experimental narrative and feminist Belgian filmmaker Chantal Akerman.

• From the East - Chantal Akerman retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow.