Exciting to get to see this in theaters… glad I held off on watching the DVD for so long. I’m always afraid Akerman’s movies will put me to sleep at home, probably unfounded since I found D’Est mesmerizing. This one is similarly anthropological, showing New York in its specific era, making me wonder if the movie feels more special as a time capsule with each passing year. Akerman had moved to the States for a couple years and her mom wasn’t taking the separation well, writing constant letters, mostly to ask why Chantal hadn’t sent more of her own letters. So Chantal reads the letters from her mom aloud rapidly over her long-take images and sounds from the city, often letting the spoken correspondences get drowned out by traffic and train noise. In practice, it’s more interesting than it sounds.
The keenest signifier of Akermanâ€™s pervading sense of rootlessness, of unbelonging â€” a reaction, perhaps, to the threat of confinement of any kind â€” would also be her truest anchor in the world: her mother, Natalia … Speaking in I Donâ€™t Belong Anywhere, a documentary profile shot shortly before her 2015 death, Akerman wonders if â€œthrow[ing] Jeanne Dielman in her [motherâ€™s] face was very generous of me,â€ describing the film as “a kind of mirror that wasnâ€™t necessarily something [women of that generation] appreciated seeing.” In the same documentary, Akerman says it was only with News From Home that she realized her mother formed the center of all of her work. At the time of these interviews, Akerman was completing work on No Home Movie, a meditation on her elderly motherâ€™s decline and impending death. It would be her final film.