The Creative Powers of the Everyday in Chantal Akerman's Films

This article analyzes the political representation of the female body within the everyday in the films Saute ma ville (1968), Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975) and Portrait d'une paresseuse (1986) by Chantal Akerman. It aims to reveal the ways in which her 'formalistic' mode of cinematic creativity shapes a quest to decipher and critique the everyday lives of women by portraying the commonplace through the lens of a...