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Kritiker-Rezensionen
Jeanne Dielman
Chantal Akerman Belgien, 1975
All this is underscored by the shots’ long duration that stress repetition, purposefully bordering on tediousness. . . . Even more remarkable in their blunt commonplace setting are the dinner scenes, in which Jeanne sets the table, serves, and eats mostly in silence with her young son—the single substitute for love in the entire film—while being virtually unnoticed by him.
August 01, 2018
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Akerman and Mangolte evolved the notion of the value of images most closely associated with womanhood at the time, like folding clothes, making the bed, and preparing dinner. The film establishes a tone of rhythmic stasis, letting the camera sit idly in static compositions that force the viewer to feel the passage of time and pick up on intricate details of feminine routine.
July 27, 2018
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There’s a social critique here, but also the kind of creeping, pressurized dread that exists in the best horror movies. Suffice to say, Jeanne Dielman pays off in the end in a way that subverts, complicates, and explodes its art-cinema setup.
April 26, 2018
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A really fascinating, almost hypnotising focus of Jeanne turning on the light whenever she enters a room and turning off the light whenever she leaves a room stays with me after those almost four hours I spent with Chantal Akerman’s masterpiece yesterday. Of course, Akerman says a lot more in this film. Yet I felt absolutely drawn to this small, ordinary action we all do every day.
March 29, 2018
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To reach this level of ambiguity, the director feeds off the contradiction between narrative and rarefaction. . . . If Akerman’s oeuvre is a collection of genres and registers . . . Jeanne Dielman seems to absorb and resignify this life and this love for images and for the music in images, changing cinema to come, but also the cinema that had already happened. Cinema is only one and it finds one of its most beautiful and complete reflections on Jeanne’s ever-stretching loneliness.
December 14, 2017
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Though it evokes experimental cinema in how it ingeniously uses a simple concept to confront the illusion of that simplicity, it’s also a brilliant depiction of real life as narrative… Only the late filmmaker’s second feature, JEANNE DIELMAN is almost daunting in its command of the medium—perhaps the only label that can rightfully be attached to it is "masterpiece.
March 31, 2017
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Jeanne Dielman (1975) is a structural film par excellence and a desperate cry against the prison of domesticity fully deserving of its acclaim, but there is much else in this rich body of work worth exploring, from its comedy to its varied subject matter to its ideas about art and filmmaking itself.
March 30, 2016
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Akerman converts the story’s feminist psychology into choreographic spectacle, depicting housework, sex, and family life with a gestural and directorial precision that renders them monumental.
March 25, 2016
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This topic has been covered before in many films, from Belle de Jour to the more recent Concussion. Happy homemaker by day, whore by night. But Jeanne Dielman breaks that mold, shatters it, forces us to endure the “homemaker” stuff, endlessly: each day the same, so that we watch the routine, we understand how it should go, we see her meticulous nature … and then, slowly, also mundanely, it unravels.
October 06, 2015
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Simple in structure and composition, yet using that simplicity to find routes to narrative and political complexity, Jeanne Dielman stands its ground as the preeminent example of postmodern minimalist cinema.
April 06, 2015
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Going to the movies is a voluntary submission to its ritual: no talking, no cell phones, no indiscreet fidgeting. Like Akerman behind the camera, we face Jeanne at eye-level. We’re punished—paying attention for so long is exhausting, confining—and rewarded—it’s the only way we’d be permitted into Jeanne’s rituals, to the private rhythms of one woman’s livelihood. We understand, intuitively, why she kills him; we understand, in our bodies, why it makes sense.
February 13, 2014
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Pretty much exactly the film that’s always been described to me, and pretty much exactly the response I always imagined I’d have – an amalgam of ‘This is great, but surely the point’s been made now’ and ‘But I guess it’d feel hypnotic on the big screen’.
October 23, 2013
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The ultimate violent dissolution of [Jeanne’s quotidian] actions in Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975) make it one of the most insurrectionary films about women that I have ever seen, and certainly one of the most celebrated examples of cinema in the feminine, or indeed of cinema of any kind.
July 07, 2013
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The power of Akerman’s film is that despite its static set-ups, its duration allows the flux to find purchase: the world’s activity pushes disorder forward, creeping across the frame like a ripple. That is, the world stays the same—Jeanne’s apartment life is a clock—and the social, as registered by Akerman’s compositions, restricts movement.
November 09, 2009
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Chantal Akerman’s masterpiece, a mesmerizing study of stasis and containment, time and domestic anxiety. Stretching its title character’s daily household routine in long, stark takes, Akerman’s film simultaneously allows viewers to experience the materiality of cinema, its literal duration, and gives concrete meaning to a woman’s work.
August 18, 2009
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A mesmerizing, voyeuristic three-day journey into the unsettlingly mundane and mundanely private moments of existence, JEANNE DIELMAN turns what most movies leave out into a masterpiece of cinema.
April 17, 2009
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The greatness of Jeanne Dielman is its ability to reveal the radical presuppositional leaps of faith an audience will make when deprived of concrete characters and motivations in a film (Abbas Kiarostami’s films expose this phenomenon as well). The space that Akerman allows her audience to ruminate over their own interpretations and postulations is as generous and unlimited as the space she gives Jeanne (or rather, the space she allows Jeanne to give herself) is constricted.
June 08, 2003
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By placing so much emphasis on aspects of life and work that other films routinely omit, mystify, or skirt around, Akerman forges a major statement, not only in a feminist context but also in a way that tells us something about the lives we all live.
February 21, 2002
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In the final analysis, I respect Jeanne Dielman as a whole and even admire parts of it, but I do not feel that it breaks out of its formal shell into the realm of exquisite feeling that I have found over the years in the great works of Bresson, Godard, and Fassbinder.
April 05, 1983
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Jeanne Dielman is as monumental a formal film as Michael Snow’s La Région centrale; Akerman’s landscape, however, is radically other. Seyrig’s slow-motion breakdown, her leap into an abyss beyond teh kitchen sink, packs an emotional wallop entirely different from the products of earlier (mainly male) avant-gardes.
March 29, 1983
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The film’s first virtue, to me, is its uncompromising ‘naturalistic" style and pace. It’s almost like Greed. For a film [illegible] revolutionary you don’t have to show a “conscious” heroine making pronouncements against woman’s position today every five minutes.
December 09, 1976
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The conditions of a minimal underground classic—that the shape of a film be discernible in any single frame; that a single-camera s trategy be the basis for the movie’s metaphysic and any situation within the film; …and that the field of examination be more or less static, durational and unromanticized—couldn’t have found a better narrative than the one in which a life dedicated to perfection breeds its opposite, an apocalypse of sinister results.
November 01, 1976
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