Os Encontros de Anna

At the end of the 'French new wave' era, it seemed European directors were looking to make films more based on emotion and human interaction. This film is really a collection of stories that the viewer pieces together to understand the full story of the main character, Anna. What is wonderful is how the stories or 'meetings' are so contrasting in terms of emotion, yet all seem so natural and all are very relevant in order for us to understand just who Anna is. No doubt it is a film that requires patience, but that seems to be the very point, like Anna the viewer must be patient. It may be speckled with scenes of joy and nostalgia, but for the most part it is an alienating tale showing all to well that with success comes a price of some sort.

Les Rendezvous d'Anna opens with a shot of a train station somewhere in Germany. A woman gets off the train, and she is seen walking slowly to a phone booth, and making a call. The shot is a long one, and the woman is so far in the distance that she can barely be seen at all. This shot establishes the mood of much of the film. I have to admit that, during the first half-hour of this two-hour-plus film, I almost ejected the videocassette and gave up on it. There are many long shots of Anna with her back to the camera, standing and looking out of hotel windows, train windows, at landscapes which are at best industrial. The viewer is tempted to say "OK, I get it; get on with it!" I succumbed to that temptation more than once. If you're willing, though, as I was, to slow down, to settle in to the pace of the film, to stop expecting anything much to happen, there are many rewards for your patience here. Anna is an independent filmmaker; she's on a more-or-less continuous tour of cities to appear at cinemas with her film in an attempt to attract a larger audience. The setting of Chantal Ackerman's film is almost entirely commercial interiors: on trains, in stations, in hotels and hotel rooms. I suspect much of this mirrors Ms. Ackerman's own experience. My first response while watching was to put this film in the same category as 'Last Year at Marienbad,' or 'Hiroshima Mon Amour,' great films, but bleak films. 'Anna' is a bit of a different story, though--the situation is a temporary one; Anna is a creative person out to help sell her work, not simply a symbol for existential angst. Her surroundings are bleak, but she's making sense of it as she can; during the scenes in this film where she interacts with others (two men who don't quite make it as lovers, an older woman, her estranged mother) she comes alive. She listens to people, she talks to them, she's sympathetic; she helps them as much as she can, living in a rootless world. I came away from 'Anna' with a deep sense of involvement with the character; she's still on my mind two days later. Like Anna, I sometimes feel adrift in an alien urban landscape. If you're a lover of European art film, I can recommend this film without reservation.

Les rendez-vous d'Anna (1978) was written and directed by Chantal Akerman.

Aurore Clément stars as Anna Silver, a movie director who is traveling through Europe to promote the opening of her latest film.

First, we have to establish the fact that Clément is tall and elegant, and looks like a model. There's no rule that movie directors can't be attractive, so that works in the film.

However, directors tend to make things happen. They are forceful, because they have to be. This is doubly true for women directors. Anna Silver is aloof, distant, and appears to drift from one city to the next without connecting with anyone else.

Second, Chantal Akerman has her own style, and either you accept it or you don't. The trip by train from Cologne to Brussels is 3 1/2 hours long. Anna is bored, and we're bored during the trip. Akerman doesn't care--she shows us the train trip for a long time.

At one point Anna has to leave her hotel in Paris to find an all-night pharmacy. It's not a true emergency--she just needs some medication for a friend. Any other director would show the protagonist leaving the hotel, entering and leaving the pharmacy, and returning to the hotel. Not Akerman. We follow the taxi driving through the dark wet streets of Paris for at least ten minutes. Then Anna gets the medication and goes back to the hotel.

I respect Akerman as a director, and enjoy watching her movies. However, I have to admit that her filmmaking is an acquired taste.

This movie worked well on the small screen. It came as part of Criterion series 19--Chantal Akerman in the Seventies.

The film has a solid IMDb rating of 7.4. I agreed, and rated it 7.

P.S. Look for the Italian actor Lea Masari in a small supporting role as Anna's mother. Masari was only 45 when she played the role. She looked more like Anna's sister.

"Les Rendez-vous d'Anna" is the only film of Chantal Akerman's which I've seen. It is seemingly a highly personal film about a few days in the life of a female Belgian filmmaker who is traveling around Europe showing her latest work. There are long shots of traveling, whether by train, car or taxi, during which...well,nothing really happens. Kind of like real life. The Europe which is observed all looks the same, pretty much - sterile and dispiriting, rather like the Anna's life. Hardly a tree is seen in the whole movie and Anna actually tells her German lover that she doesn't much care for flowers - nature seems to have been blotted out. She has encounters on her travels with a sensitive, handsome German whom she rejects, a long-time friend of her mother's who wants Anna to settle down and marry her son, a German man who has travelled the world and is now decided on living in France which he declares the land of freedom, her mother in Brussels and her Parisian lover. Through all the encounters, Anna remains detached and pretty much a blank slate. She doesn't really seem to know what she is looking for, but it doesn't seem to be commitment of any kind. Clement is purposefully reserved and detached in the lead role, but the people she meets offer opportunities for several sharp well-turned performances, namely from Magali Noel, Lea Massari and Hans Zischler who is great as the rootless traveler searching for "freedom". "Anna" is an interesting, moody film but definitely not for those looking for action or entertainment. If that is your thing, avoid this film like the plague - but if you are a patient viewer who likes to be immersed in a mood and read between the lines, so to speak, this film may appeal to you.

Was a time when topics like bisexuality, biological clocks, loneliness, female identity, or diversity in filmmaking were cutting-edge stuff. Clearly that was a long time ago, and when you ignore those worn-out taboos and take a really hard look at this movie it's just a really boring travelogue. Call it Lenny Bruce syndrome. I guess you had to be there to get it.

The film hinges on a single character, and I didn't find her remotely interesting. We don't know much about her other than she is lonely. We don't know about her politics, her art, her opinions on anything, her flaws, her appeal...there's nothing to the character. She's a bland ice queen that attracts a multitude of people without trying, a super competent character who doesn't face any struggle, a supposedly internationally famous artist who doesn't seem very good at communicating with other people or has anything insightful to say. Why should I care about this person?

Unfortunately this film suffers from the lingering influence of Antonioni and others from sixties art-house cinema where the camera lingers ten minutes on literally nothing, because evidently five minutes of nothing was insufficient to build the mood of ennui. The same exact mood that the other 150 minutes creates in the same way.