Akerman is a genius of the performative mode. Meaning is bodily, whether between bodies like the lovers wrestling in je, tu, il, elle, or bodies in isolation like the titular heroines in Jeanne Dielman and Les rendez-vous d’Anna. Anna lies in bed alone or looks out of hotel room windows like a woman in a Hopper painting. Toute une nuit explores the embrace; couples fall together like Pina Bausch choreography. Empty rooms and public spaces wait for people to occupy them. When action is so thoroughly minimal, little things become events. Jeanne misses a button, and that tells the story.