Akerman’s poignant, yet deceptively radical, final film is a profoundly moving portrait of her mother Natalia, a Holocaust survivor, in the months leading up to her death.

It comprises a series of vignettes that Akerman ‘composed’ by setting down a digital camera in corners of her mother’s Brussels apartment. Natalia suffered from chronic anxiety all her life – an affliction that fuelled much of her daughter’s creative output.

This May, QFT celebrates one of cinema's mavericks with a season dedicated to filmmaker Chantal Akerman, the first female director to take the number one spot on Sight & Sound's Greatest Films of All Time poll.