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A lonely young widow lives with her son following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.
Commissioned for the centenary of the famous French architect and designer Robert Mallet-Stevens and shot on the street that bears his name in Paris' 16th arrondissement, Rue Mallet-Stevens depicts a mysterious, nocturnal scene of romance (featuring Akerman and her partner, the cellist Sonia Wieder-Atherton) unfolding before and inside one of the street's modernist constructions.
A burnt-out New York psychoanalyst exchanges apartments with a Parisian woman. When his patients arrive, they talk to her and then pay. He returns early and becomes a patient as well.
A woman suffers a subdued psychological breakdown in the wake of a devastating breakup.
Detached filmmaker Anna Silver arrives in Germany to show her latest film; over the course of some days, she encounters a variety of new and old faces, some of whom make personal revelations to her to little affect.
Akerman, by using 360° camera pans, explores the space of a small room like a succession of still lifes : a chair, fruits on a table, solitary objects in waiting. Amidst this thread of movement, there is only one living figure: a young woman, sitting on a bed.
Ariane lives with Simon in his large Paris flat. Simon is obsessed with her: he wants to know everything about her, secretly follows her when she goes out, asks questions all the time, even in the most intimate moments. Ariane seems to take it all in stride, but Simon realises that she's hiding something.
In a lively shopping center, proprietors and customers are bustling, including three women vying for a man's heart with song and dance.
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.