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The final film from groundbreaking auteur Chantal Akerman, NO HOME MOVIE is a portrait of her relationship with her mother, Natalia, a Holocaust survivor and familiar presence in many of her daughter's films.

"At the center of Chantal Akerman's enormous body of work is her mother, a Holocaust survivor who married and raised a family in Brussels. In recent years, the filmmaker has explicitly depicted, in videos, books, and installation works, her mother's life and their own intense connection to each other. No Home Movie is a portrait by Akerman, the daughter, of Akerman, the mother, in the last years of her life. It is an extremely intimate film but also one of great formal precision and beauty, one of the rare works of art that is both personal and universal, and as much a masterpiece as her 1975 career-defining Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles."—New York Film Festival, Film Society of Lincoln Center

"The #1 Best Film of the Year." —Manohla Dargis, The New York Times

"It is as if Chantal Akerman, perhaps for the first time in her career, has revealed the core of her work and her wounds in the most naked of ways." —Cinema Scope

"[No Home Movie] was heartbreaking when I saw it last week and it is devastating now." —J. Hoberman, The New York Times

"Akerman brings us into her world, and through her challenging form allows us to understand her fragmented understanding of home." —Indiewire

"If Chantal Akerman's politics and aesthetics are devoted to a "historiography and theory of women in the home," as Jayne Loader says in a 1977 Jump Cut piece on Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles, then No Home Movie, Akerman's stridently unsentimental love letter to Natalia, her recently deceased mother, necessarily unfolds as the culmination of those efforts." —Slant Magazine

"In this final movie, the love she feels for her mother, her patience with Natalia's failing memory and the way she shares her ideas are deeply moving." —Now Toronto

"An intimate self-reflection…a tender, haunting film." —The Los Angeles Times