Chantal Akerman's experiences in the field of video installations led her to participate in some of the most important exhibitions in the world, such as the Documenta de Kassel (2000) and the Venice Biennale (2001 and 2015), among others, always with great success. His works in this area were developed based on some of his own films - to which he added material from new filming he made.

Oi Futuro will receive four video installations by the filmmaker: In the Mirror (1971-2007) shows a scene from one of the filmmaker's first films (L'Enfant Aimé or Je joue à être une femme mariée, 16mm, from 1971), in which one naked young woman, in front of a mirror, examines her body detail by detail.

La Chambre (2012) was created from images of the 16mm homonymous film, released in 1972. In the article “Chantal Akerman: self-portrait of the filmmaker”, from 2004, the magazine Cahiers du Cinéma, edited by Center Pompidou, summarizes the film thus : “A long and slow panorama repeatedly and continuously describes the space of a room. In bed, Chantal Akerman - first sitting and still and, when the camera returns, eating an apple. It is both a mysterious self-portrait of the filmmaker in his foreseeable place, and the equivalent, for his cinema, of a still life: to gather his personal motives in a repetitive description to better discard them next. ”

Maniac Summer (2009) is composed of images and sounds recorded in Paris, in the summer of 2009.

It is a comprehensive triptych, without beginning or end, without a specific subject or theme. The camera is positioned in front of a window and rotates there. He observes movements, records noises coming from the street or the nearby park, captures Chantal Akerman in his normal routines in the apartment: smoking, working, talking on the phone. Fragments of the artist's daily life are presented in the central video of the installation, while the auxiliary panels show a more symbolic material, composed of images from the main video that have been isolated, modified and repeated several times. These abstract post-images constitute a kind of memory, which refers to the images of the central element of the installation, as well as so many shadows of its reality.

The fourth work will be Tombée de Nuit sur Shanghai (2009), with projections of images from the eponymous episode directed by Chantal Akerman for the film The State of the World, which brought together six directors from various countries and was produced to commemorate the 50 years of the Calouste Foundation Gulbenkian, from Portugal.It is a single channel installation, which evokes the art of direction and observation. The static images characteristic of Akerman's style capture the port, the boats that cross the river, the people passing by, the horizon of the megalopolis, the giant illuminated advertisements and the falling of the night in real time. Tombée de nuit sur Shanghai has little or no plot, but a powerful atmosphere that makes it stand out. His representation of the urban environment is anchored in the dialectical relationship between the observer's static gaze and the various movements of the subjects in that gaze.The natural buzz of a hotel-restaurant serves as a soundtrack for this visual reverie without any apparent meaning.