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2.893 Note

Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles

Regizat de Chantal Akerman
Belgia, Franța, 1975
Avant-garde, Dramă


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 Bruxelles Regizat de Chantal Akerman
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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