{"id":1600,"date":"2026-09-02T11:19:12","date_gmt":"2026-09-02T11:19:12","guid":{"rendered":"https:\/\/everydayphotography.org\/centre\/?p=1600"},"modified":"2026-09-02T13:41:46","modified_gmt":"2026-09-02T13:41:46","slug":"eidolon-club-vol-17-no-home-movie-film-screening","status":"publish","type":"post","link":"https:\/\/everydayphotography.org\/centre\/eidolon-club-vol-17-no-home-movie-film-screening","title":{"rendered":"Eidolon Club Vol. 17 \u2013 No Home Movie \u2013 Film screening"},"content":{"rendered":"\n

9 September, 17 September<\/strong> & 26 September, at 18:30, Cirko-Gejz\u00edr Cinema, Budapest<\/strong><\/p>\n\n\n\n

The final film in the Eidolon Club series this year is Chantal Akerman\u2019s 2015 documentary \u2018No Home Movie\u2019, which also serves as the closing work of the director\u2019s oeuvre. Akerman is best known for \u2018Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles\u2019 (1975), which was voted the greatest film of all time by critics in \u2018Sight & Sound\u2019 magazine\u2019s poll in 2022. Yet alongside her major auteur films, Akerman\u2019s body of work is also remarkably rich in short films and documentaries.<\/p>\n\n\n\n

\u2018No Home Movie\u2019 almost seems to frame her entire oeuvre. In \u2018News from Home\u2019 (1976), which Budapest audiences were recently able to see in cinema, Akerman reads letters from her mother while her camera scans the streets of New York. In \u2018No Home Movie\u2019, meanwhile, their online video calls across the Atlantic and their conversations form the backbone of the film. In a sense, the forty years between the two films are also a history of profound changes in communication technology \u2013 something that becomes visible within the film itself: the 16mm images of the 1970s give way to handheld cameras, mobile-phone footage and screen recordings.<\/p>\n\n\n\n

For the Eidolon Club audience, however, we do not want to highlight only this all-encompassing medial-technologic phenomenon. The final film by one of contemporary cinema\u2019s most important directors is about much more: it is a film about memory, distance, grief, and the fragile ways in which we try to remain connected to those we love.<\/p>\n\n\n\n

The film will be screened three times in French, with Hungarian subtitles. Before the screenings, a short video essay will be shown, contextualising the film.<\/p>\n\n\n\n

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