In this thesis, I study the films of the Belgian female director Chantal Akerman, with a focus on her 1978 film, Les Rendez-vous d’Anna. As one of the most influential, avantgarde auteurs in European Cinema, Chantal Akerman uses epistolarity (Naficy 2001) as the basis of her narrative, traversing the past and present through dark transitional spaces such as stations, hotel rooms, in scenes of loneliness and isolation, in the mother-daughter relationship, keeping her Jewish and queer identity as ...