This article addresses the ever-present theme of mother-daughter relations that pervades the films of Chantal Akerman. It haunts all of Akerman's work, a fact she has never tried to hide and which she admitted directly to the author of this article in a discussion at the Pompidou Center on June 7, 2011: “The only subject of my films is my mother.” Araujo examines three dominant motifs as they relate to the larger theme of the mother in a selection of Akerman's films that span her life's work: playacting, the mother and the world, and the mother and the night.

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