Jeanne Dielman 23, quai du Commerce 1080 Bruxelles

Single mother's routine life slowly unravels, dramatically

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About Jeanne Dielman 23, quai du Commerce 1080 Bruxelles

Released: 1977

Platform: Max

Rating: NR

Run time:

Cast
Delphine Seyrig, Jan Decorte

About Jeanne Dielman 23, Quai du Commerce 1080 Bruxelles

The universally acclaimed film, Jeanne Dielman 23, Quai du Commerce 1080 Bruxelles, is a cornerstone of feminist and avant-garde cinema. Released in 1977, the movie is a keen observation of everyday banality and the mundane details of domestic life, presenting an unparalleled portrayal of a single woman's struggle to retain dignity in the modern world through the constraint of routine and ritual.

Making / Production

Directed by Chantal Akerman, the film is known for its painstaking detail, slow pace, and long durations. It was produced by Paradise Films, Unite Trois, and Belgian French Community and is shot in the 35mm format. Chantal Akerman's direction calls attention to minute particulars, and through prolonged scenes, allows viewers to immerse themselves in Jeanne Dielman's world.

Actors

  • Delphine Seyrig: Played the lead character, Jeanne Dielman, with a sublime internal intensity. Her portrayal of a widowed housewife whose structured daily routine starts to collapse slowly is remarkable.
  • Jan Decorte: Impersonated Sylvain Dielman, Jeanne's son. His performance provided a strong counterpoint to Jeanne's routine life, adding flowers of youth to the otherwise monotonous ambience.
  • Henri Storck: Depicted one of Jeanne's regular clients, capturing perfectly the casual disregard for Jeanne's humanity.

Trivia / Interesting Facts

  • The movie was filmed primarily in Akerman's own apartment and it took more than a year to complete.
  • Jeanne Dielman was Akerman's first feature-length film.
  • The film runs for more than three hours, covering three days in the life of Jeanne Dielman.

Quotes

  • "It's your turn to do the dishes."
  • "It's always the same, isn't it?"

Music, Soundtrack

The director strategically opted not to use a traditional score or soundtrack, believing that domestic sounds—like those of cooking, cleaning, and even body movements—were more fitting for a film about isolation and the overbearing routines of everyday life. Thus, the soundtrack is a symphony of real-life sounds.