However, two other installations were quite powerful. D‘est: Au bord de la fiction (From the East: Bordering on Fiction) from 1995 was a meditative journey through post-Cold War Eastern Europe. Ackerman's signature horizontal pans and lateral camera movement swept across cold nights, bleak faces, emptying elevators in what, at the end of working on the project, she realizes in retrospect was about the Shoah. (Ackerman's parents were East European Jews.) Her narration concludes, in a tiny monitor isolated in the corner, showing abstract, frame-by-frame pixillation of a fade to black, "So. That's what it was. That again."
De l’autre côté (From the Other Side) was a 2002 documentary on the Arizona/Mexico border and illegal immigration. A similar multi-screen installation of segments from a linear film, the cumulative effect was quite moving even if the narrative specifics got lost. More lateral camera movement along fences and border walls juxtaposed with interviews and surveillance footage. I'm sure I'm not the first to think about this, but the horizontal camera movement seemed an effective strategy of resisting the aggression of the classic cinematic 'gaze.' By not moving the camera forward, and denying the viewing the opportunity to look ahead into space by keeping the camera moving, there seemed to be a respect for the subject by avoiding a more penetrating, probing, viewing relationship.