SYNOPSIS

In August 2012, Chantal Akerman travels in the South of the United States, on location scouting for a new documentary. Marianne Lambert travels with her for filming Chantal at work.

Program Note

 line-height:115%;mso-ascii-font-family:\" 맑은=\"\" 고딕\";mso-ascii-theme-font:major-latin;=\"\" mso-fareast-font-family:\"맑은=\"\" 고딕\";mso-fareast-theme-font:major-latin;mso-hansi-font-family:=\"\" \"맑은=\"\" 고딕\";mso-hansi-theme-font:major-latin;mso-bidi-font-family:굴림;mso-font-kerning:=\"\" 0pt;mso-bidi-font-weight:bold\"=\"\">In August of 2012, Chantal AKERMAN travels the
 American South in search of a filming location for her new documentary. AKERMAN
 tries to approach the making of her documentary by linking connections between
 the serial killer case involving a Caucasian male who murdered three
 African-American males and the Tulsa Race Riot in Oklahoma, 1921. However,
 while she interviews the people involved in the serial killer case, she
 realizes that the case is more about a foolish man’s family problems than about
 racial issues, and so she aborts the documentary project without any
 hesitation. This film is a film about an unfinished film. However, this short
 documentary gives the audience the invaluable opportunity to have an intimate
 glimpse at how AKERMAN approaches the subject of her documentary and the themes
 she is interested in. The scenery that passes by the car window, the AKERMAN
 that we can see through the crack in the door of a hotel bungalow, the room
 with her laptop and her clothes all over the place, the look of the empty
 hallway after AKERMAN leaves with her luggage all of these not only evoke a
 sense of loneliness but also allows the audience to remember ///La Chambre//, ///Jeanne
 Dielman//, ///Hotel Montere//y, and AKERMAN’s other works. [CHO HeyYoung] \" 맑은=\"\" 고딕\";mso-ascii-theme-font:major-latin;mso-fareast-font-family:\"맑은=\"\" 고딕\";=\"\" mso-fareast-theme-font:major-latin;mso-hansi-font-family:\"맑은=\"\" 고딕\";mso-hansi-theme-font:=\"\" major-latin\"=\"\">