La Chambre she experimented with big ideas on the nature of cinema and what constitutes as narrative in spaces. She takes that idea to its logical endpoint in Hotel Monterey. Monterey is a film made up mostly of static observational shots on the people who reside in a run down hotel in New York City. Hotel Monterey is rigorous to say the least, but there are these pockets of narrative surrounding the residents and the all encompassing oppressive look of the hotel is very deliberate in creating a specific feeling of dread. In my previous review for Hotel Monterey I likened the film to a thesis on the idea of a home, and how hotels are inherently these soulless institutions, because they are rarely the home of anyone. They exist only to be a substitute of the warmth that comes from having a home so Akerman's filmmaking feels ghostly and cold. I still think that's very present in Hotel Monterey as my ideas on what hotels represent hasn't changed in the last year, but what has changed is my understanding of why exactly this film connects with me so deeply.
news that scientists believe trans women may be able to get pregnant within the next five years. I latch onto that glimmer of hope, and see this idea of who I want to be, and what I want my future to look like and Akerman's cinema gives me an image of a pregnant woman within reach. Akerman's cinema has always felt as if it has evolved around my mental state whenever I decide to watch one of her films, and that one example has left me in a state of bittersweet devastation upon coming into contact.