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Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975)

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (original title)
Not Rated | | Drama | 21 January 1976 (France)
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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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

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Drama

Certificate:

Not Rated | See all certifications »

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Release Date:

21 January 1976 (France)  »

Also Known As:

Jeanne Dielman  »

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Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Jeanne Dielman's obsessive and exacting ritualistic behavior was inspired by Chantal Akerman's mother Natalia Akerman. See more »

Goofs

In one scene in the kitchen, the thermos is on the window ledge but appears on the table when the camera cuts to a different angle. See more »

Quotes

Neighbor: What are you making for dinner?
Jeanne Dielman: Wednesdays it's breaded veal with peas and carrots.
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Connections

Referenced in The Thingy: Confessions of a Teenage Placenta (2013) See more »

Soundtracks

Bagatelle for Piano
Composed by Ludwig van Beethoven
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User Reviews

 
Hypnotic...
8 September 2009 | by (Ireland) – See all my reviews

I can safely say that I have never seen cinema like this before! Set out over a three-day period, we see widowed mother, Jeanne Dielman, go through her daily routine, many tasks played out in real time, the camera stubbornly static, and often, moreso earlier in the film, at waist-height looking upwards, so that Jeanne's head and shoulders frequently disappear out of shot. At first, watching these actions performed in full seems a touch unnerving - this is something that many people have carried out hundreds of times, but we have never before been forced to pay attention to the monotony of daily chores in such detail. However, holding these shots for so long draws the viewer in even further, making them concentrate on every action, so that when even the smallest cracks appear in Jeanne's monotonous routine, it appears to be almost earth shattering, just as the effect this has on Jeanne is equally momentous.

The wonderful Delphine Seyrig here plays Jeanne with an astonishing subtlety and restraint, almost emotionless throughout the three hours and twenty minutes of running time, yet it remains one of the most affecting, powerful performances that I have seen in cinema.


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