La Chambre: In Chantal Akerman's early short film La chambre, we see the furniture and clutter of one small apartment room become the subject of a moving still life - with Akerman herself staring back at us. This breakthrough formal experiment is the first film the director made in New York.

Hotel Monterrey: Under Chantal Akerman's watchful eye, a cheap Manhattan hotel glows with mystery and unexpected beauty, its corridors, elevators, rooms, windows, and occasional occupants framed like Edward Hopper tableaux.

News from Home: Letters from Chantal Akerman's mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. Akerman's unforgettable time capsule of the city is also a gorgeous meditation on urban alienation and personal and familial disconnection.

Eclipse Series 19 - Chantal Akerman in the Seventies (Criterion) (Disc 2 of 3): Je tu il elle (1975)

In her provocative first feature, Chantal Akerman stars as an aimless young woman who leaves self-imposed isolation to embark on a road trip that leads to lonely love affairs with a male truck driver and a former girlfriend. With its famous real-time carnal encounter and its daring minimalism, Je tu il elle is Akerman's most sexually audacious film.

Eclipse Series 19 - Chantal Akerman in the Seventies (Criterion) (Disc 3 of 3): Les rendez-vous d'Anna (1978)

In one of Akerman's most penetrating character studies, Anna, an accomplished filmmaker (played by Aurore Clément), makes her way through a series of European cities to promote her latest movie. Via a succession of eerie, exquisitely shot, brief encounters - with men and women, family and strangers - we come to see her emotional and physical detachment from the world.