Influenced by the New York avant-garde scene, her first short and full-length movies reveal her interest for a cinema seeking a truth which only a camera exploring space and recording actual time can bring to the fore. Somewhere between fiction, documentary, essay and video installation, her work also attests to a willfully autobiographical burlesque character that gave rise to several comedies. Consistently, her films outline a complex relationship to places, objects, other people, and ultimately herself, her personal history and her origins (her Jewish family from Poland was deported and exiled). Sharing the spirit of the post-Nouvelle Vague generation, the films deploy an esthetic inventiveness, a sense of narrative experimentation, and the rigor of a documenting outlook that result in analyses of human behaviors of a rare acuity.

Selected filmography : Saute ma ville (1968), Hotel Monterey (1972), Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975), Les rendez-vous d'Anna (1978), Toute une nuit (1982), Golden eighties (1986), D'Est (1993), Un divan à New-York (1996), La captive (1999), Sud (1999), De l'autre côté (2002), Demain on déménage (2004).