Jeanne Dielman
Eine einsame, verwitwete Hausfrau erledigt ihre täglichen Aufgaben, kümmert sich um ihre Wohnung, in der sie mit ihrem Teenager-Sohn lebt, und macht gelegentlich einen Trick, um über die Run... Alles lesenEine einsame, verwitwete Hausfrau erledigt ihre täglichen Aufgaben, kümmert sich um ihre Wohnung, in der sie mit ihrem Teenager-Sohn lebt, und macht gelegentlich einen Trick, um über die Runden zu kommen.Eine einsame, verwitwete Hausfrau erledigt ihre täglichen Aufgaben, kümmert sich um ihre Wohnung, in der sie mit ihrem Teenager-Sohn lebt, und macht gelegentlich einen Trick, um über die Runden zu kommen.
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Apparently, this cinematographic study of housewife's social condition was first intended to be politically engaging at its release, and rightly so, seeing the socio-cultural contexts of 70s. But categorizing it simply as a pioneer of feminist film making, one would miss more essential values this experimental work may embody. If we feel a lingering melancholy and a vague sorrow toward the secluded existence of the protagonist, her solitary acts of peeling vegetables, boiling water, or mechanically making love with men for living... it is probably not because this is a mere depiction of women's status which one hope to be improved in more egalitarian society. We find here something much more deep seated in the modern men's existence in general, namely the social condition of laborers trapped by a particular mode of occupation, gradually and ineluctably losing any clue of human communication as well as the conviction of one's own destiny, without really knowing why.
After 30 minutes of uncomfortable fidget I started to become tuned into the monotony of Jeanne's existence and only subsequently struggled with the final half hour, although the ending perked me up. If nothing else this film has the power to get you thinking of your insignificance and, possibly, the chance of you doing something about it.
It's interesting in that JD is only one of two or three film on the list not categorized as ENTERTAINMENT, in its broadest sense. It is a philosophical piece, an art piece through and through, and it is presented very well, focusing on the external life of a woman, a mother, a widow, a prostitute, through a series of vignettes and makes no attempt to capture the internal life of the main character . In the age of social media, this film is an antidote to the INSTAGRAM/TIKTOK/FACEBOOK mindset of today. After viewing JD, I felt not so bad, in comparison, about my own life, even optimistic. In fact, I felt a sort of kinship with her watching her complete the most mundane tasks of daily living without a need for heightened emotion or personal drama. JD, of course, is not the greatest film ever made, but it may certainly be the best example of why films, like people, should not be ranked as if they were always in competition. This film, and many others like it, stands alone. (if that makes any sense).
Wusstest du schon
- WissenswertesJeanne Dielman's obsessive and exacting ritualistic behavior was inspired by director Chantal Akerman's mother, Natalia Akerman.
- PatzerFrom around 01:11:18 to 01:11:36, we can see the boom mic on right of the frame.
- Zitate
Sylvain Dielman: [Referring to his dead father] If he was ugly, did you want to make love with him?
Jeanne Dielman: Ugly or not, it wasn't all that important. Besides, "making love" as you call it, is merely a detail. And I had you. And he wasn't as ugly as all that.
Sylvain Dielman: Would you want to remarry?
Jeanne Dielman: No. Get used to someone else?
Sylvain Dielman: I mean someone you love.
Jeanne Dielman: Oh, you know...
Sylvain Dielman: Well, if I were a woman, I could never make love with someone I wasn't deeply in love with.
Jeanne Dielman: How could you know? You're not a woman. Lights out?
- VerbindungenEdited into Les variations Dielman (2010)
- SoundtracksBagatelle for Piano
Composed by Ludwig van Beethoven
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- Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
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- 41.466 $