Toda uma Noite

Toute une nuit (1982) ("All Night Long") was written and directed by Chantal Akerman. Akerman is one of my favorite directors, but she's not at her best in this film.

The basic plot is a series of pairings that take place during a warm night in Brussels. Some of the characters live in the same building, but I don't think any couple interacts with any other couple in the movie.

The film is dark, and the couples are not highly attractive. I have to admit that the action didn't fly by--it was a long 80 minutes.

On the other hand, Akerman has the courage to stay with a scene when other directors would cut away. Better still, she often continues the scene when the principal actors have left the frame. It's only then that the viewer discovers the characters that have been literally and figuratively in the background. Their stories might be as interesting as the stories we are following. Maybe they'll be in Akerman's next film. Maybe she's already made that film, and I just don't know it.

Yet another interesting experiment, from the always self-challenging Chantal Akerman. Not my favorite of her films, but I almost always find her brave, creative work worthwhile, even when she only partly succeeds.

This follows over 24 different characters through one night in Brussels. It's a short film (80 minutes or so) , so each character only gets 2 or 3 'visits' -- each running from about 30 seconds to 2 minutes. We don't really get to know any of the people of the film, so the challenge is filling in for ourselves the stories that lie between the almost random moments of their lives we happen to see.

Some of it's quite funny, although keeping track of the stories can admittedly be hard. It's a film I don't 'enjoy' all that much while I was watching, but find oddly moving by the end. As in her even more experimental "Hotel Monterey', and 'News From Home', Akerman uses beautiful Edward Hopper like images of apartments and windows to create a mood of bittersweet sadness..

I would like to see a better copy than the old, long out-of-print VHS, which seems to be the only version ever put out for home viewing. Perhaps Criterion will continue their great work with Akerman's films and get to this and the rest that aren't available. (hint, hint)

Chantal Akerman's movies can be disconcerting: she is on the one hand a highly sensual filmmaker, with a great interest in textures and surfaces, and on the other hand, she can be highly conceptual. This combination can result in films which are enticingly seductive, or it can result in films which are abruptly alienating.

Of all her films, TOUTE UNE NUIT is one of the most seductive. Set during one night, it's a series of vignettes, some no more than a glimpse of a few seconds, of people at night. People sitting in bars near closing time. People sitting at home, waiting. People walking at night. The sense of anticipation, of yearning, becomes palpable.

Some vignettes are longer, but all these stories are fragmented: we're not given a real beginning, though we are given a few endings. There is no real dialogue: we just see a few gestures, a little action, but that's all.

People alone in a bar, then noticing each other. Will they make some sort of contact? A little girl packing her little suitcase: is she running away? Where? It's like we're given the bits and pieces of a larger narrative, but we have to decide what these bits and pieces mean. And then there are those encounters. Someone waiting alone in an apartment, when another person finally arrives. Two people running into each other on the street. All the meetings, often culminating in a kiss, seem to distill the most intense romantic desires.

We want these strangers to find a way not to be alone, and that desire on our part creates a tension which is tactile and erotic. Of course, Akerman has populated her night world with highly attractive people, so we are in a fantasy world of desire. TOUTE UNE NUIT is one of the most romantic movies that i've ever seen; it's funny that Akerman's most famous movie, JEANNE DIELMAN, is a long movie composed of very lengthy takes, while this movie is relatively short, with sharply edited, staccato little scenes. TOUTE UNE NUIT is almost the antithesis of JEANNE DIELMAN, but it shows Akerman in a romantic mood which is filled with yearning, desire and affection.

A flirtatious series of near character studies. Scene by scene, we are given what might be the parts of a larger romance, or maybe highlights from a variety of comic romance films. Unlike more narrative explorations, few of the scenes get past the "discovery" moment -- introducing the tension -- as if "finishing" the scene, releasing the tension, would be robbing the characters of their right to resolve the situation on their own. In other words, the tension is not there to embarrass people into action; tension is an unavoidable, and funny, part of life, all by itself.

Though we get few good looks at any particular situation, the humor and the sense of anticipation at the start convinced me to stay when the scenes began to explore more static relationships and more durable parts of love.

Also, this film is more like a book than a movie. Imagine how silly it'd be for a bunch of people to make some popcorn, open some beers and sit down and read a book together and that's kind of how seeing this movie might be. But it's a good book!

This was a little special. "Toute Une Nuit" ("A Whole Night") hyperlinks several characters during a long night in Brussels, dealing with their love affairs, longings for their distant loved ones, or romantic moments and sometimes some separations and some new encounters. Chantal Akerman reveals through those small fragments and small particles of life little things that seem essential in relationships, like they're mandatory. If you ever been involved with someone, you'll go through all the stages presented here: dancing together, run into your loved ones arms, the small talks, the kisses, the disorientation of many lonely nights when the other one is not around and so on.

In an almost wordless and very quiet experience, it's up to us to imagine what goes through the characters' mind and their psyche. When the words aren't needed sometimes is easier (and more fascinating) to form a whole scenario. In the most funniest sequence, a love triangle, formed by two men and one woman, decide to ignore each other at a restaurant and you already get the sense that choices must be made, they aren't satisfied with the current situation. Next thing you know, one of the guys ask "Who are you leaving with tonight?". No answer is given, then the trio part different ways. The other couples in the film are less complicated but they have their fair share of obstacles, pleasant moments.

While the idea seems interesting, it's execution is tiring and poor. There's far too many characters to track down, and the voyeuristic look from the distance strangely captured by an affected cinematography hurts the experience. The director, however, is authentic with her love observations almost as if making a documentary on the stages of romance without using clichéd formulas, or making us attached to just one story (not all of them are interesting but they work their way out to make a whole picture). With the silence, the darkness comes the light of reflection, we are bound to perceive love in a different perspective. It's constantly made up of saying 'I Love You' all the time, it's more about gestures, intentions, actions, even when the other one is not around and even then you might find it difficult to say what's need to be said (beautifully presented with the worried guy who finds it extremely hard to write a letter to his boyfriend, who just walked through the door, going on a trip). It's in the trying, and it's on the connection made. For all the little things, "A Whole Night" overcomes its problems and becomes an enjoyable picture. Perfect for a silent night. 6/10