Sonia & Chantal

The Sonia & Chantal collection was one of the events at DocFest this year I was most excited about. Chantal Akerman is one of my personal heroes. As a filmmaker she’s dedicated to pushing the boundaries of cinema as an art and is uncompromising in her vulnerability and openness. Her films are refreshing in terms of both form and pure empathy.

The collection consists of two documentaries: one old, one new. Avec Sonia Wieder-Atherton is a concert piece on classical musician and long-term collaborator Sonia Wieder-Atherton, directed by Akerman in 2003. It’s a journey into the hypnotic nature of music and the trance it instils in its creators and enthusiasts. It is paired with the new documentary Son Chant, a found-footage movie that captures a night out in Paris with Sonia and Chantal and explores the role that sound plays in Akerman’s filmography. 

What makes this collection stunning are its juxtapositions. Taking the intricate precision of Akerman’s cinematic syntax and contrasting it with rough, shaky handheld footage provides a duality present in Akerman’s artistic personality. The nature of the serious concert film clashing with the carefree night of relaxation creates a rounded portrait of Akerman as an artist and more importantly as a human being. Her serious devotion to art contrasts with her charismatic and carefree personality in a magical way.

The detailed exploration of sound offered is also intriguing. As someone who’s much more interested in the visual aspects of cinema, I often ignore the vital role sound plays in the filmic process. Son Chant illuminates how audio bolsters the impact of Akerman’s movies. The collection serves as a great tribute to one of the most creative and important directors of the twentieth century – an innovative retrospective of an innovative woman. 

Written by Isaac Holmes