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Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)

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.

Director:

Chantal Akerman (as Chantal Anne Akerman)

Writer:

Chantal Akerman
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Cast

Complete credited cast:
Delphine Seyrig ... Jeanne Dielman
Jan Decorte Jan Decorte ... Sylvain Dielman
Henri Storck ... 1st Caller
Jacques Doniol-Valcroze Jacques Doniol-Valcroze ... 2nd Caller
Yves Bical 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:

View content advisory »
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Details

Country:

Belgium | France

Language:

French

Release Date:

21 January 1976 (France) See more »

Also Known As:

Jeanne Dielman See more »

Filming Locations:

Belgium See more »

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Box Office

Gross USA:

$19,858
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Included among the "1,001 Movies You Must See Before You Die," edited by Steven Schneider. 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

Jeanne Dielman: I could have made mashed potatoes, but we're having that tomorrow.
See more »

Connections

Featured in What Is Cinema? (2013) See more »

Soundtracks

Bagatelle for Piano
Composed by Ludwig van Beethoven
See more »

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User Reviews

 
Hypnotic...
8 September 2009 | by edulaSee 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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