Chantal Akerman’s work can be considered as a meditation on the problematic nature of the representational abilities of cinema. Many of her works contain images that are presented in unbroken takes from a fixed perspective, and her films are often marked by the lack of conventional cinematic devices such as dialogue or plot. Often set in real time, they display a lack of hierarchy in the way in which the images are presented; the gradual accumulation of small details and everyday observations create a language of great emotional power.
