Portrait d’une paresseuse (Drama)
In the Seven Women, Seven Sins chapter alternatively titled La Paresse (Sloth), Akerman directs and stars in an ironic meditation on idleness from the perspective of a filmmaker who’d seemingly rather stay in bed.
Commissioned alongside other avant-garde female directors including Bette Gordon (Variety, MIFF 1984), Ulrike Ottinger (Paris Calligrammes, MIFF 2020) and Valie Export (The Practice of Love, MIFF 1986) for the German television anthology film Seven Women, Seven Sins, Chantal Akerman – a prolific artist – set her sights on sloth. Shooting in the Paris apartment she shared at the time with partner Sonia Wieder-Atherton, Akerman appears as a filmmaker wrestling with the problem of getting up in order to make a movie about laziness. She ponders time-saving hacks, health, personal grooming and a general sense of malaise as Wieder-Atherton energetically rehearses a cello piece in another room.
2K Digitisation.
This short film screens with L'homme à la valise, Family Business, Lettre de cinéaste, Le jour où....