In the work of Chantal Ackerman, one can find a number of eccentric intimacy scenes that are informed by an iconography of the Holocaust.
Akerman’s films also present images of what Norbert Elias has called the Established and the Outsiders in a wider sense. Winfried Pauleit reads eccentric intimacy scenes of “Les Rendez-vous d’Anna” (1978) and “No Home Movie” (2015) referring to concepts of dehumanization, post-humanism and suicide.
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