Saute ma ville (1968) is the first film by Chantal Akerman (1950-2015). Her portfolio includes conventional and experimental approaches, both in fiction and documentary, essays, visual portraits. Every film is a new attempt, searching for an approach that altogether still remains as her individual aesthetics. In this film, most of Akerman's attitude is already shaped: the simplicity, the intentional nativity that distracts the audience for what is to come, the feeling of verité, as much as the feeling of 'nothing happens' so characteristic of hers. Under the scrutiny of Acousmatic Foley's concepts ('sound-prop', 'sound-actor' and 'sound-motif '), this paper proposes a closer look at the author's soundtrack: listening to each choice of the design as intentional and purposeful. If initially the soundtrack seems baffling, matching a general defective period of sound in film history, it is also in the front line of what sound design should be: a storyteller.