Biography
Early life and education
Born in 1963 in San Francisco, U.S., Atherton grew up in New York and later in Paris. She now lives and works in France. Her parents are Ioana Wieder, a French filmmaker of Romanian Jewish origin, and John Atherton, an American academic. Her sister is the cellist Sonia Wieder-Atherton.
Drawn early on to Taoist philosophy and Chinese ideograms, [1] she spent several months in China in 1980, studying at the Institute of Foreign Languages in Beijing. Upon returning to France, she enrolled at the National Institute for Oriental Languages and Civilizations in Paris.
Her first professional experience came in 1982 at the Centre Audiovisuel Simone de Beauvoir in Paris, where she worked as a video technician. In 1984, she entered the professional program at the École Nationale Supérieure Louis-Lumière in Paris, graduating in 1986. [2] Soon after, she began working with both sound and image, collaborating notably with Delphine Seyrig and Carole Roussopoulos on projects for the Centre Simone de Beauvoir, among others. [3] From the 1990s onwards, her focus shifted primarily to film editing.
Encounter and collaboration with Chantal Akerman
Claire Atherton met Chantal Akerman in 1984 during the stage adaptation of Letters Home: Correspondence 1950-1963 by Sylvia Plath, performed by Delphine Seyrig at the Théâtre Moderne de Paris. At the time, Seyrig—then President of the Centre Audiovisuel Simone de Beauvoir—invited Akerman and Atherton to film the production.
"I quickly sensed, when we began editing, that it would be the beginning of a long story between Claire and me," Akerman later recalled. [4]
That encounter marked the start of a creative partnership that would span over three decades. [5] In 2007, Chantal Akerman spoke openly about the deep creative connection she shared with Claire Atherton in the editing room:
"We're in such osmosis that sometimes we don't even need to talk to each other. (...) For example, a shot—the length of a shot. We look at it and both tap the table at the same moment: we see the same things, we know when to stop. (...) There's nothing logical about the length of a shot. It's all about feeling. And it's a miracle to find someone who feels the way you do." [6]
Their collaboration extended beyond cinema into the realm of video installations, a medium Akerman began exploring in 1995. [7] Atherton played a central role in shaping these works, helping to develop an editing approach that was "not only temporal but also spatial". [8] Today, she continues to oversee the conception and spatial design of Chantal Akerman’s installations, which are still exhibited in France and internationally.
Atherton contributed to nearly all of Akerman’s major works—documentaries, fiction films, and installations—up until No Home Movie [9] and NOW, the latter presented at the 2015 Venice Biennale in 2015. [10]
On November 16, 2015, ahead of the premiere of No Home Movie at the Cinémathèque française in Paris, Atherton paid tribute to her late collaborator by reading a personal text she had written in Akerman’s honor. [11]
Film editing: fiction, documentaries, video installations
In addition to her long-standing collaboration with Chantal Akerman, Claire Atherton has worked with a wide range of filmmakers and artists, both in France and internationally. Since the 1980s, she has edited more than 80 works—including short and feature films, art films, experimental pieces, documentaries, and video installations—spanning projects from cinema to contemporary art exhibitions. [12]
In 2000, she met Luc Decaster for the editing of Rêve d’usine, and has edited all his films since.
In 2023, Noëlle Pujol spoke about their regular collaboration since 2007:
"Claire Atherton edits fiction films, documentaries and video installations. That’s why I wanted to work with her. We’ve been working together since 2007. Claire often compares the act of editing to that of sculpting. Far from using images and sounds to serve a message, she listens to them and shapes them to give birth to the film. Claire places questioning and movement at the heart of her work. She is not so much interested in providing answers as in asking questions to keep cinema alive." [13]
After the death of Chantal Akerman, she met Éric Baudelaire, an artist and filmmaker with whom she began a particularly rich collaboration starting in 2015. From then on, she became the editor of all his films, and it was with her that he began creating his first video installations. [14]
Among some of the other projects she has worked on are Mafrouza, [15] a multi-part documentary by Emmanuelle Demoris for which she edited the segments Cœur and Oh la nuit in 2007, and Au Monde by Christophe Bisson in 2013. More recently, in 2023, Atherton edited Man in Black, [16] a film by Wang Bing selected for the Official Competition at the Cannes Film Festival. She also worked on The Vanishing Point by Bani Khoshnoudi, which received the Burning Lights Competition Award at the Visions du Réel Festival (Nyon International Film Festival) in 2025. [17]
Work beyond editing
Atherton is regularly invited to lead masterclasses and workshops for emerging filmmakers, both in France and internationally, at institutions such as La Fémis (Paris), HEAD – Haute école d'art et de design (Geneva), Elías Querejeta Zine Eskola (San Sebastián) or EICTV—La Escuela Internacional de Cine y TV (San Antonio de Los Baños, Cuba). She frequently contributes essays published in specialized books and occasionally online. Her essay “The Art of Editing” is featured in the anthology Montage, co-published by HEAD and MAMCO. [18]
In November 2023, she was invited to curate an exhibition of works by Chantal Akerman at La Virreina Centre de la Imatge in Barcelona. Facing The Image, [19] her first curatorial project, was later presented at Artium Museoa in Vitoria-Gasteiz in May 2025. [20] ’ [21]
Recognition
In 2013, her work has been honoured with a comprehensive retrospective at the Grenoble Cinémathèque (France) [22] — an unprecedented tribute to the body of work of an editor.
In 2019, Atherton was awarded the Vision Award Ticinomoda at the 72nd Locarno International Film Festival, [23] ’ [24] becoming the first woman to receive the honor. Since its inception in 2013, the award "both highlights and pays tribute to someone whose creative work behind the scenes, as well as in their own right, has contributed to opening up new perspectives in film". [25]
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