Not as polished and refined as the other two Akerman films I've seen, 'Je Tu Il Elle' is still a powerful progenitor of her deeply slow, intimate, and experimental style found in masterpieces like 'Jeanne Dielman' or 'News From Home'.
Akerman's Ozu-level eye for composition, her sensual, artistic renderings of the female form, and her thematic ideas involving desire, sexuality, and the mundanity of modern urban existence all take shape within the confines of 'Je Tu Il Elle'. They're somewhat…