web01.fireside.fm Wed, 13 May 2026 10:44:37 -0500 Fireside (https://fireside.fm) The Akerman Year - Episodes Tagged with “Nuit Et Jour” https://akermanyear.fireside.fm/tags/nuit%20et%20jour Fri, 01 Apr 2022 15:00:00 -0400 Chantal Akerman's work stretched across mediums, formats, modes, concerns, countries, and production models, but only a handful of them have actually been seen by most cinephiles, especially in North America. In this monthly miniseries, we (Kate, Simon, and an assortment of special guests) will make a comprehensive case for Akerman as belonging on any list of the great artists of the last century -- not only for her relatively "famous" works, but also for her dozens of much-less-seen projects. en-us episodic A monthly podcast miniseries on the work of filmmaker Chantal Akerman, hosted by Kate Rennebohm and Simon Howell. Simon Howell and Kate Rennebohm Chantal Akerman's work stretched across mediums, formats, modes, concerns, countries, and production models, but only a handful of them have actually been seen by most cinephiles, especially in North America. In this monthly miniseries, we (Kate, Simon, and an assortment of special guests) will make a comprehensive case for Akerman as belonging on any list of the great artists of the last century -- not only for her relatively "famous" works, but also for her dozens of much-less-seen projects. no Simon Howell and Kate Rennebohm suckerblues@gmail.com Part 5: Hot summer nights (ft. Caden Mark Gardner) https://akermanyear.fireside.fm/part-5-hot-summer-nights 9aa1c5cd-4d58-4a3e-b8db-3f79b01cd7da Fri, 01 Apr 2022 15:00:00 -0400 Simon Howell and Kate Rennebohm full 1 Simon Howell and Kate Rennebohm Two very different Akerman features linked by heat, humidity, and the uncertain whims of love are on the docket this week, as guest Caden Mark Gardner joins us to talk 1982's Toute Une Nuit and 1993's Nuit Et Jour. 1:46:55 no <p>Once again, the stylistic breadth of Akerman's work comes to the fore via two features linked closely in theme but vastly divergent in approach. First up is <em>Toute une nuit</em> (1982), which chronicles a single smouldering Brussels night via the (mostly) romantic trials and tribulations of several dozen characters; that's followed this month by the more divisive <em>Nuit et jour</em> (1991), a chronicle of bifurcated love in the form of an askew philosophical romantic drama, complete with narration supplied by Akerman herself. Writer and critic Caden Mark Gardner is on hand to help us out on this one!</p> <p>Caden's article on the Digital Trans Archive as mentioned by Kate: <a href="https://www.criterion.com/current/posts/7254-from-the-margins-what-the-archives-show-us-about-trans-cinema-and-audiences" target="_blank" rel="nofollow noopener">https://www.criterion.com/current/posts/7254-from-the-margins-what-the-archives-show-us-about-trans-cinema-and-audiences</a><br> Caden on Patreon: <a href="https://www.patreon.com/corpsesfoolsandmonsters" target="_blank" rel="nofollow noopener">https://www.patreon.com/corpsesfoolsandmonsters</a></p> <p>If you like the show or what we do generally, consider throwing us a few bucks to help cover our costs: <a href="https://paypal.me/kateandsimonpod" target="_blank" rel="nofollow noopener">https://paypal.me/kateandsimonpod</a></p> <p>Our intro music is performed by Sundar Subramanian. You can stream and buy his work here: <a href="https://sundarsubramanian.bandcamp.com/" target="_blank" rel="nofollow noopener">https://sundarsubramanian.bandcamp.com/</a> </p> chantal akerman, toute une nuit, nuit et jour Once again, the stylistic breadth of Akerman's work comes to the fore via two features linked closely in theme but vastly divergent in approach. First up is Toute une nuit (1982), which chronicles a single smouldering Brussels night via the (mostly) romantic trials and tribulations of several dozen characters; that's followed this month by the more divisive Nuit et jour (1991), a chronicle of bifurcated love in the form of an askew philosophical romantic drama, complete with narration supplied by Akerman herself. Writer and critic Caden Mark Gardner is on hand to help us out on this one!

Caden's article on the Digital Trans Archive as mentioned by Kate: https://www.criterion.com/current/posts/7254-from-the-margins-what-the-archives-show-us-about-trans-cinema-and-audiences
Caden on Patreon: https://www.patreon.com/corpsesfoolsandmonsters

If you like the show or what we do generally, consider throwing us a few bucks to help cover our costs: https://paypal.me/kateandsimonpod

Our intro music is performed by Sundar Subramanian. You can stream and buy his work here: https://sundarsubramanian.bandcamp.com/

]]> Once again, the stylistic breadth of Akerman's work comes to the fore via two features linked closely in theme but vastly divergent in approach. First up is Toute une nuit (1982), which chronicles a single smouldering Brussels night via the (mostly) romantic trials and tribulations of several dozen characters; that's followed this month by the more divisive Nuit et jour (1991), a chronicle of bifurcated love in the form of an askew philosophical romantic drama, complete with narration supplied by Akerman herself. Writer and critic Caden Mark Gardner is on hand to help us out on this one!

Caden's article on the Digital Trans Archive as mentioned by Kate: https://www.criterion.com/current/posts/7254-from-the-margins-what-the-archives-show-us-about-trans-cinema-and-audiences
Caden on Patreon: https://www.patreon.com/corpsesfoolsandmonsters

If you like the show or what we do generally, consider throwing us a few bucks to help cover our costs: https://paypal.me/kateandsimonpod

Our intro music is performed by Sundar Subramanian. You can stream and buy his work here: https://sundarsubramanian.bandcamp.com/

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