Todo sobre mi madre y yo: género, memoria e identidad en el cine de Chantal Akerman /

In Chantal Akerman’s cinematographic work, the presence of her mother is one of the most prominent elements. The Belgian director used the figure of her mother in several of her works, which span more than four decades in time. This recurring presence is due to the traumatic maternal past, since Natalia Akerman was confined in concentration camps during World War II. But, in addition, to reflecting on mother-child relationships and family memory, the films in which Chantal Akerman talks about her mother are also an interesting object of study on other topics. Specifically, they are examples of how to use autobiographical material to make films or how feminism is capable of rethinking the hegemonic representation of staging.