Chantal Akerman once told an interviewer that each of her films needs hallways, doors, and rooms. “Those doors and hallways help me frame things, and they also help me work with time.” Akerman’s first major retrospective in her native Brussels showcases the breadth of her time-based achievements across an art-deco labyrinth one could spend days within. The exhibition opens with digital restorations of four 8mm films submitted with Akerman’s 1967 application to art school. Projected alongside each other asynchronously, the silent snapshots drift between frenetic observation and acted scenes with Akerman’s mother and friends. These are the earliest examples of Akerman’s radical filmmaking that she would go on to call “documentary bordering on fiction.” A cinema of ethically crossing thresholds. “Travelling” puns with the French travelling, or tracking shot. Akerman’s camera often moved right-to-left, working against the Hollywood standard of narrative progression and challenging preconceptions of what constitutes an advance. People are in transit in Akerman’s films, and the camera moves with them. Subjects exit train stations, check into hotels, ride the subway, and queue for buses. Les Rendez-vous D’Anna (1978), Akerman’s first film with major distribution, is almost entirely composed from travel passages. Not screened in …