Night and Day 1991 ‘Nuit et Jour’ Directed by Chantal Akerman
Jack and Julie live in a bare flat in Paris. At night, Jack drives a taxi while Julie wanders around the city, and in the day they make love. One day Julie meets Joseph, the daytime driver of the taxi, and soon Julie is spending her nights with Joseph and her days with Jack.
Ok, so its kinda boring to describe something as "A Feminist Response to _____" BUT... Nuit et jour is a gleeful feminist respone to Jules st Jim! Akerman ditches Truffaut's violent, fatalist love triangle in favor of one far more casual, and sporting a decadent depiction of romantic inertia. Instead of the female lead being defined against the titular leads, the male leads are defined by the female love interest as she relates to them, as night and day. As such, they are painted as diametrically opposed, but only as they are defined against Julie. The ending is incredible, Akerman totally dunks on Truffaut.
Fun to watch with a friend who was similarly enthralled and also found a lot of themselves in this movie (for better and for worse!) Does Mia Hansen-Love like this movie? Would screen well with Eden.
Chantal Akerman disait (si mes sources sont bonnes): « J’ai besoin, pour cadrer d’avoir des chambres, des fenêtres, des couloirs. Je me sens plus à l’aise à l’intérieur, avec des structures, qu’à l’extérieur, quand il n’y en a pas. Et c’est pour ça que souvent, quand je suis dehors, c’est la nuit. Comme ça, il n’y a pas tous les détails qu’il y a dans une journée. Et c’est de nouveau comme un intérieur. »
Nuit et Jour (que j’ai double-billé avec Le déménagement), est une leçon akermanienne intérieur/extérieur: l’appartement le jour, et l’errance la nuit. Les lieux connectent les couples, ils n’existent pas sans les personnages et en sont leur reflet: l’appartement pour le couple Julie/Jack, les chambres d’hôtel pour le…
The final shot of this movie is the best thing that has ever happened to me.
Chantal Akerman's formalism can come across as cold or distant, especially in this film, the story of a dual love affair; nevertheless, her characters live beyond the concepts they represent or talk about, and there's a genuine compassion there too, however restrained. During the day, Jack and Julie make love; at night he drives a taxi and she wanders Paris, until she meets the man who drives the taxi in the daytime, Joseph, and begins an affair. It's a waking dream of a film - no-one needs to sleep, apparently - and a complex portrait of Paris, a city both alive and isolating. Julie is perfectly happy to compartmentalise her life, loving Jack and Joseph equally while they, in turn, become more jealous and possessive. The final shot is miraculous.
— ¿Qué se hace cuando pasa la felicidad?
— Intentar recuperarla
— Y si la encuentras, ¿es la misma?
Akerman descubrió que hay algo en la noche, en el insomnio, en la vigilia, que hace que las personas no sean las mismas que de día. Como si en ese tiempo finito sin luz solar la mente fuera propensa a cuestionarse sin explicación, sin motivo, y ser capaz de romperlo todo. A veces, las más felices, esa ruptura es liberadora.
Everything can only last so long. A poetic picture with beautiful shots. Still trying to decipher what all the little things mean, with a picture steeped in the intricacies of a relationship, sometimes you miss out on what the style brings, the choice of color, the shadows, all beautiful. I'm still trying to gather what Jack, Joseph, and Julie mean to me but I know it's something significant. I found myself somewhere, I need to tear down a wall.
Akerman can’t even make the most boring french sexfreaks interesting
مشاعري ملخبطة تجاه الفيلم .. فالتقييم مش محسوب .. وهو بس لاخر ١٠ دقايق بالفيلم
نوت بسيط ، اختيار جولي كممثلة كان شي غلط كثيير .. او مش عارف اذا هي منيحة بس انا كرهتها بالفيلم ..
الفيلم كثيير نسوي ، بدون ما يحكيلك انا فيلم نسوي ، وهاذ شي كويس بس برضه كان مؤذي
Impossibly cute movie about undeniably cute people. Certainly feels like a more narratively crystalized version of Toute Une Nuit, with the same nocturnal romanticism. Has an amazing shot about fifteen minutes in where the camera slowly pulls away from the conversing couple through a traffic circle. And then a brilliant final shot and moment.
"Na realidade nem sei no que penso. Sou feliz assim. À noite penso em Jack. E durante o dia não faz falta, porque ele está comigo."
In 2015 when I was 19 I wrote a 2000-word piece on the concept of flânerie in Chantal Akerman's movies and have decided to split up the piece into smaller Letterboxd reviews for posterity. Akerman would pass a few months after I wrote this.
Chantal Akerman’s NUIT ET JOUR (“Night and Day,” released in 1991) opens with a pair of slick-skinned black-haired lovers luxuriating in the blue folds of bedding in their Paris apartment. They tell the audience about their daily (and, as per the film’s title, nightly) routine. “I’m a cab driver at night,” Jack (Thomas Langmann) speaks into the camera. “I like nights better, so I can spend the day with Julie.” Julie (Guilane Londez) breaks the fourth…
Feels like a slightly more accessible “talkie” version of her other film Tout une nuit and is filled with wonderful moments and bits of dialogue.
What counts is what’s not said.
The discussion about having kids is valuable.
Doing it right is important.
Doing it when you can barely exist as a couple
Ella lo sabe.
Por eso también le recuerda el miedo que llega a instalarse cuando decides tener familia.
When she had me she was afraid of me, afraid to do the wrong thing, afraid I’d die, everything counted, each gesture she made, at night, she’d get up to see if I was still breathing...
Luego, cuando Jack le pregunta si ese miedo también lo sienten los hombres, Julie no sabe. Su papá nunca dijo nada.
And if what I want is not what you want, how will we manage?
Tanto que se…
No se cómo hacía Chantal para filmar todo con aura nostálgica o rememorativa aunque eso no sea el tópico de todas sus películas.
A love for night, a love for day. Keeping ones affairs in order, until possessiveness and the outside rear themselves. The push for perfect desire through everything - responsibility, structures, choice, the feelings of others. All atmosphere, mystery, choreography, elevated between-spaces. She had been working away at something since Toute Une Nuit - probably before (and not something she's all that reputed for) - and boy she gets it here.
From its restrained eroticism to its elegant compositions divided and partitioned by windows and doorways, this is among Akerman's most visually gorgeous films. Her films explicitly rejects any semblance of leering objectification in their portrayals of sex. In her early films like Je Tu Il Elle, there's a famous sex scene that takes place in a distanced long take that emphasizes a messy, passionately grappling intimacy. Here, intimacy is similarly captured in distanced shots that emphasize the frequently naked couple's physical proximity in the comfortingly cramped space of the apartment But it also features more sensuous close ups that prioritize hands moving across skin and fleeting moments of sensuality that feel similar in flashes to Denis' work. Formally, the film…
Julie e Jack são um casal vindo do interior para vida movimentada de Paris. Seus nomes são semelhantes a dois outros personagens importantes da cinematografia francesa: Jules e Jim. O filme que se inicia em uma atmosfera de sonho, como em um musical, abre espaço para os sons do dia-a-dia, enquanto Julie se apaixona por Joseph. A narração diz que nada acontecia a Julie, até aquele momento. A juventude que busca viver tudo ao máximo traz suas consequências.
Julie ama os dois homens da mesma forma, contudo eles não conseguiriam viver com ela e o outro. O medo, “algo que dura”, segundo os personagens, é perceptível enquanto a projeção avança. Os quadros, dentro de quadros, dentro de quadros, montados por…
“Es tan brusco, estás y ya no estás”
“Paris es una gran ciudad, de noche me cruzo con muchas chicas pero contigo no. Y eso que, de tanto circular, podríamos vernos. Hay muy pocas probabilidades, hoy lo he calculado... hay menos de una entre un millón, pero las reglas se rompen incluso aquí.”
¿Si solo había una posibilidad entre un millón de encontrarnos se podría considerar azar? No estoy muy segura.
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