In one of Akerman’s most penetrating character studies, Anna, an accomplished filmmaker (played by Aurore Clément), makes her way through a series of anonymous European cities to promote her latest movie.
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Les Rendez-vous d’Anna is not among Chantal Akerman’s greatest films. But it contains an 18-minute sequence of some three or four scenes that remains as unsettling today as it was when I first saw it 38 years ago.