TOMORROW WE MOVE (2004)

Born in Brussels in 1950, Chantal Akerman made her film debut with a short in 1968 at the tender age of 18 after she was heavily influenced by JLGs Pierrot le fou which she saw at 15 (she has also spoken highly of Michael Snow and Stan Brakhage who she came across during her time in NY in the early 70s). Since then, shes gone on to make such films as Je, tu, il, elle (1974), Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1976), Les Rendez-vous d'Anna (1978) , DEst (1993) and La Captive (2000). All along, however, one thing shes maintained is that she doesnt like repeating herself even though most want more of the same from herand its hard to blame them. So, her oeuvre also includes works like A Couch in New York (1996) and De l'autre ct (2002); and when time permitted, shes also been involved in various art projects including video installations.

Her latest film, Tomorrow We Move (Demain on dmnage), may seem like a bit of an anomaly at first, but ultimately, its streak of feminism renders it equivalent. In this offbeat and often goofy comedy, a mother and daughter are united again after the death of their husband and father. The chain-smoking daughter, played by Sylvie Testud, is a writer whos been assigned a pornographic piece, but her work is often stymied by her mothers rekindled passion for piano lessons. The Mother, played by Aurore Clment, has also cluttered her already congested apartment, thus making it difficult for her to think clearly; however, when she suffers a writers block, the mother casually tells her to spice the piece up with words like "prick," " @#%$," and "ass." Most of the rather lackadaisical first half revolves around their unique relationship but things do pick up once they decide to move. After the apartment gets appointed for sale, the endless succession of prospective buyers make life quite interesting for both of them (and for us), and unknowingly, they even help out with the writing piece. Akerman has described herself as a "bit of Chaplinesque figure," and Testuds character is supposedly her alter ego, but while this might be a personal film for this auteur, its far from a satisfying viewing experience. There isnt enough material to fill this almost 2-hr film, so many ideas and idiosyncrasies are repeated. Tested, who also starred in Akerman's previous film (the Proust adaptation, La Captive) is fine once again, and there are some strong turns by veterans like Natacha Rgnier, Dominique Reymond and Elsa Zylberstein.

______________________

*TOMORROW WE MOVE was recently released on DVD in the U.S.