Whether seen as an exacting character portrait or one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.
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Jeanne Dielman, 23, Quai du Commerce, 1080 BruxellesDirected byChantal Akerman
all the seemingly-nothing-happens-but-actually-seething-under-the-skin way of filmmaking should pay tribute to this flic. only this one is so pervasively natural and so devoid of pseudo-intellectual tension.
An extraordinary exercise in formalism; a cinema subtly, utterly, infused with a palpable tension & dread. Jeanne's interior, over which she exerts exacting control, constantly threatened by the exterior: flickering neon; chaotic street sounds; insistent doorbells; chatty neighbours; men who won't neatly leave... Till her interior finally asserts itself (and we meet her at last). Structurally/thematically dense. 3.75
importance of the unimportant. strange thing is, when i paused the film, and left it about 10 minutes, when i go play it again, i have a feeling i'm missing something, its like the film keep playing even i paused it. i have the same feeling when watching ozu's, and kiarostami's.
The first thing you'll notice is how trapped you feel—the cozy wallpaper alone is as nightmarishly stylized as the world of Caligari, while the fixed camera makes every location feel like a box and the material objects of domesticity turn threatening. But most important is the woman inside, whose routine begins to break in subtle, thrilling, frightening ways. One of the great works of radical cinema. 5 stars.
Akerman at her best creates an atmosphere so intimate and comfortable to the viewer it warps our sense of time and invites us into a state of reverie. Silence becomes our companion and the routinary motion of events lead us to the very source of grief and frustration of our complex heroine. 3 hours with Jeanne Dielman go by so quickly one gets to wonder how it managed to end like that.
A masterpiece. The fact that this film is nearly 3 and a half hours long, with no soundtrack, completely static camerawork, little dialogue with almost nothing happening and yet it still completely enthralled me speaks leagues about its greatness. It's probably the best film I've ever seen that I have no desire to sit through again. I will never forget this movie. So absolutely haunting and beautiful I almost cried.
I could sit in silence for another three hours. This is the film equivalent of "shoestring" by Charles Bukowski. The small details matter. Its the accumulation of them that can make anyone insane. This is the only "nothing happens" movie that I love!
A child of a Holocaust survivor, Akerman lovingly reconstitutes the absent mother and joins her in an entombment of ritual anxiety and control, allowing her own aggression to recede to the focal point of a passionate witness, where she, herself childless, is allowed to communicate something she has learned, which would otherwise be lost. Great precursor to her masterful "Meetings with Anna."