"No fundo são fragmentos”: uma análise de Toute une nuit de Chantal Akerman

Abstract

This work investigates the articulation of time and space through de-dramatization and stylistic elements in the film Toute une Nuit, made in 1982 by the belgian director Chantal Akerman. First, a brief survey of the discussions about the director's film is made, passing through feminism and self-enrollment. It then approaches some of her hyper-realistic and minimalist works from the 1970s and the 1980s, seeking to establish relationships between the films. Afterwards, it focus on the feature film Toute une nuit, going through the notes of intent written by Akerman, entering an analysis of its theme, sound and structure. The present research focuses on questions about everyday life and time capturing, having as a starting point Hopper's dedramatized paintings and the emptying of the dramatic action proposed by modern dramaturgy, reflected in the fragmentation or extension of time. It is also examined how these minimal events are inserted and destabilized in the feature film by the excess or scarcity of the characters' lines and gestures.