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Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)

 -  Drama  -  21 January 1976 (France)
7.9
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Ratings: 7.9/10 from 2,526 users  
Reviews: 34 user | 43 critic

A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. However, something happens that changes her safe routine.

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(as Chantal Anne Akerman)

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Title: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) on IMDb 7.9/10

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Director: Chantal Akerman
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Cast

Complete credited cast:
...
Jan Decorte ...
Sylvain Dielman
Henri Storck ...
1st Caller
Jacques Doniol-Valcroze ...
2nd Caller
Yves Bical ...
3rd Caller
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Storyline

Jeanne Dielman, a lonely young widow, lives with her son Sylvain following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon. Written by Volker Boehm

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

21 January 1976 (France)  »

Also Known As:

Jeanne Dielman, 1080 Brüsszel, Kereskedő utca 23.  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

French visa # 45424 See more »

Goofs

On the morning of Day 2, as Jeanne is polishing her son's shoes in the kitchen, the shadow of the boom mic can be seen moving along the white curtains and wall behind her. See more »

Quotes

[repeated lines]
Jeanne Dielman: Don't read and eat!
See more »

Connections

Referenced in Safe (1995) See more »

Soundtracks

Bagatelle for Piano
Composed by Ludwig van Beethoven
See more »

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User Reviews

 
about everyday things, or an action movie
15 January 2010 | by (United States) – See all my reviews

Few films can actually claim originality: some early on may have pioneered techniques or acting styles, but as has been said before and again there are only so few stories to tell. It's the variation that counts, and as a variation on the 'everyday grind' as it were, Jeanne Dielman is one of the most original breakthrough films one could experience. It's three and a half hours of, as one might say, nothing "happening". The story is the woman, what she does, the ritual of her given tasks in silence, loneliness, a widowed mother who cooks, cleans, shops, eats, sleeps, bathes, and wits without a seeming challenging thought to perceive.

You will know within fifteen minutes if you can stick with it. Ideally one wont watch this right before bedtime, but Chantal Akerman makes sure that her audience is tuned in to her experiment (or not, as some have noted). I imagine she would even be fine if some stop watching early on or walk out. She's making a provocation by her method of timing. For those who do stick around, she knows she'll give a true "action" movie. It's the antithesis of Hollywood action fare. For example, the average shot-length for a Hollywood blockbuster is about four or five seconds tops. Here, it's roughly four minutes. Per shot. If you ever wondered, just once, if a filmmaker could put an intense amount of focus and patience on a woman making coffee or washing the dishes, or taking a (very un-erotic) bath, or staring at space, look no further.

But Akerman, in tracking Jeanne (perfectly sedate and blank-faced and mechanical Delphine Seyrig) in her three days of time in the film, is not simply making a decision totally alienate her audience. Every action here, every little chore or quiet dinner or knitting serves a purpose for this narrative. When we experience ritual and seemingly simple tasks of work around the house or chores, in real time, the underlying problem is revealed. There is obsession, a mechanical way about doing the same thing over and over, which also goes over into Jeanne's casual afternoon prostitution gigs.

What it reveals, I think, is a character like Jeanne's ultimate lack of free will and character which, by proxy, Akerman means to say is a problem among many women who have nothing but housework and kid(s). That the camera never, not once, moves by way of a pan or tilt or zoom-in or tracking shot or whatever (or, for that matter, a close- up) adds to the static imprisonment of it all. The final primal act is, in fact, a kind of desperate but real act towards a change, something out of the same grind of the usual.

Akerman's direction is unrelenting and sparse, and could be considered a pre-Dogme 95 film if not for the (artificial?) lighting from outside into the apartment at night. It's less a slice of life than a scalding hit pie that you watch cool off in real-time on the counter. Some may be deterred by the length, or the arguable disdain for dialog except for a few key scenes (reading the letter and telling a brief back- story on Jeanne's marriage, by the way both done as ritualistic and blank as cleaning dishes). For me, the lack of easy melodrama or conflict actually upped the stakes. I cared about Jeanne, despite her existential trap, that she might break out of the static world of daily action and minutia. It's a staggering piece of work by a young, courageous artist with something to say, in a take-it-or-leave-it approach.


12 of 16 people found this review helpful.  Was this review helpful to you?

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