Tous les garçons et les filles de leur âge... is a French anthology tv series. Filmmakers were given the opportunity to portray an episode about the coming of age of young people during one of the past few decades, accompanied by music of that period.

A 3rd short super 8 film made by Chantal Akerman in Knokke to be used to be accepted at INSAS starring her friends her mother and herself.

A 4th short super 8 film made by Chantal Akerman with her friends in Brussels, shot in front of the former Hotel van Cleve-Ravenstein coincidentally the place where now CINEMATEK and the archives of the Chantel Akerman Fondation are residing.

A 2nd short super 8 film made by Chantal Akerman in Knokke to be used to be accepted at INSAS.

The beginnings of Chantal Akerman behind the camera at the ages of 17 and 18: four films shot in Super 8 during the summer, presented to enter the National Higher Institute of Performing Arts and Broadcasting Techniques (INSAS, Brussels) in September 1967, where she was accepted

I’d like to film as far away as possible, in Xanghai for instance, and describe, using voice-over, with an extreme precision, everything I know about my street in Paris, in the 20th District, which is quite mestizo and where Muslims and Africans constitute the majority. There’s a school, three bars, and a building recalling the Babel tower. My intention in thus to generate some disorder using the differences and similarities of those worlds.

Filmed as part of Akerman’s film school entrance exam, these raw and playful 8mm miniatures capture life at a Brussels fairground and the courtyard of a hotel, alongside an oblique, two-part fiction set in the seaside shops of Knokke.

Alfred Brendel, one of the greatest of all pianists, plays and reflects on Franz Schubert’s last three piano sonatas. As he points out, Schubert can’t have known that he was soon to die, so they probably do not embody the air of resignation and finality future generations have sentimentally insisted they bear. They were however long neglected, all but forgotten, and only in more recent times have they come to be treasured and performed. The repose and wisdom of the maestro, together with the patient observation of one who is no stranger to the idea of the irrevocably lost, of the erasures of history, and of the value of fragile objects passed carefully from generation to generation, is a joy.

Several young men and women arrive one after the other at Hôtel des Acacias, full of hope, desire and vitality. In the bustle of this hotel, everyone is looking for love. Hôtel des Acacias was an exercise guided in 1982 by Chantal Akerman at Belgium’s INSAS audio-visual college.

A filmmaker’s self-portrait, asking hard questions of herself and of us. Invoking Aurore Clément as a kind of stand-in or proxy, a glamorous counterpart to Akerman who sports a drawn-on moustache. What is cinema for? Who is it for? If the Mosaic prohibition on making graven images includes film images, then where does that leave a Jewish filmmaker?

1973 film by Chantal Akerman

Mid-August in Paris (the title is a date: August 15) in a sunny, quiet apartment a young woman talks, thinks, reflects about herself, everyday life and little events in a long, uninterrupted monologue. The camera pictures her and her gestures in long, fixed shots moving around the rooms, the space, the light and shadows of a summer day.

Chantal Akerman meets with elderly Jewish women in Paris, all of them survivors of the Shoah, and listens to their family stories. Between interviews, Akerman's mother Natalia speaks of her own family. Made for a French miniseries on grandmothers.

"My mother because, in one way or another, I talk about her constantly in my films, and often, I wonder if I have really worked so hard for her, about her, in relation to her, also my mother and her relationship with the movies, a relationship sometimes of recognition, sometimes of negation". – Chantal Akerman
In this 2007 interview, an off-camera Chantal Akerman interviews her mother about her films. The producers of the interview originally intended to edit out Akerman’s questions but ultimately decided to keep them in to preserve the candor of the mother-daughter rapport.

Since the 1980s, famed cellist Sonia Wieder-Atherton has been present in much of Chantal Akerman’s work, whether through her numerous collaborations soundtracks, or as a protagonist (as in Rue Mallet-Stevens, 1986), or in this case, as the subject of an extended documentary portrait. The film begins with a voiceover from Akerman, describing and situating her subject, after which Wieder-Atherton takes over the narrative, sitting before the camera for an extended presentation of her life and art. Wieder-Atherton then performs some short pieces by Claudio Monteverdi, Luciano Berio, Leos Janacek, Johannes Brahms and Franz Schubert, either solo or accompanied by a small ensemble. As well as insights into an artist, this film offers a precious cinematic moment of listening.

1982年，比利时国家视觉艺术与传播技术高等学院邀请阿克曼担任一个学生工作坊的导师，她与工作坊学生一同编写剧本，并以总导演的身份创作了《洋槐旅馆》，讲述一名女子来到洋槐旅馆，她只给自己一天的时间找到她的爱人。

A young mother, alone with her daughter, confides in a friend who happens to be the director herself. Chantal Akerman, although she sympathizes with the mother, does not say a word.

Chantal Akerman reads a script detailing the woes that befell her on the day she thought about "The Future of Cinema". The camera continuously rotates 360 degrees around her apartment as she rereads the script at an exponentially increasing speed. At its heart, an homage to Godard.