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Jeanne Dielman

Originaltitel: Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
  • 1975
  • Not Rated
  • 3 Std. 22 Min.
IMDb-BEWERTUNG
7,5/10
16.461
IHRE BEWERTUNG
Delphine Seyrig in Jeanne Dielman (1975)
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.
trailer wiedergeben0:52
2 Videos
96 Fotos
Psychologisches DramaDrama

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.

  • Regie
    • Chantal Akerman
  • Drehbuch
    • Chantal Akerman
  • Hauptbesetzung
    • Delphine Seyrig
    • Jan Decorte
    • Henri Storck
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,5/10
    16.461
    IHRE BEWERTUNG
    • Regie
      • Chantal Akerman
    • Drehbuch
      • Chantal Akerman
    • Hauptbesetzung
      • Delphine Seyrig
      • Jan Decorte
      • Henri Storck
    • 144Benutzerrezensionen
    • 100Kritische Rezensionen
    • 94Metascore
  • Siehe Produktionsinformationen bei IMDbPro
  • Videos2

    Trailer
    Trailer 0:52
    Trailer
    Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles: Meatloaf
    Clip 1:30
    Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles: Meatloaf
    Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles: Meatloaf
    Clip 1:30
    Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles: Meatloaf

    Fotos96

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    Topbesetzung6

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    Delphine Seyrig
    Delphine Seyrig
    • Jeanne Dielman
    Jan Decorte
    Jan Decorte
    • Sylvain Dielman
    Henri Storck
    Henri Storck
    • 1st Caller
    Jacques Doniol-Valcroze
    Jacques Doniol-Valcroze
    • 2nd Caller
    Yves Bical
    • 3rd Caller
    Chantal Akerman
    Chantal Akerman
    • Neighbor
    • (Synchronisation)
    • (Nicht genannt)
    • Regie
      • Chantal Akerman
    • Drehbuch
      • Chantal Akerman
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen144

    7,516.4K
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    Empfohlene Bewertungen

    icivoripmav

    minimalist depiction of modern life in general, not only feminist!

    To see during 3 and half hours a middle aged woman silently executing the same household works over and over again is one thing. But to realize that this tired looking single mother is virtually cut out of the rest of society and hardly has an occasion of interacting with her fellow citizen, except routinely visiting teenage son and occasional sexual partners, is completely another thing. Once we notice this obvious fact, every act of repetitive domestic task is suddenly becoming painful to contemplate, strangely too familiar for many of us to dismiss simply as monotonous and insipid. All depends on your sensibility to such an existence. Some might find it to be trivial, pretending every woman is more or less supposed to do so since the Creation. Others might spontaneously feel a deep sympathy for her, a prisoner of one's own occupation unable to cope with a deepening void left by the irreversible passage of time, with a growing sense of non-fulfillment.

    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.
    9runamokprods

    Important, challenging modern classic

    Fascinating, powerful, hyper-controlled, super-subtle study of woman slowly coming unglued. Uses its 3 hour+ running time to put you inside the stultifying boredom and ennui of her life, and lets you see the tiny changes in her repetitive days that are powerful and meaningful barometers of the titanic emotions going on behind her blank masque. Not easy or 'fun' to watch. By definition (and intention?) it gets slow to the point of boredom at times. (Indeed NY Times critic Vincent Canby, who loved the film, jokingly warned that watching it 'could be fatal' if one was in the wrong mood.) But everything interconnects in an amazingly thought-out way. Every bit of dialogue (of which there's almost none) leaves a clue, or at least a trace. Fascinating camera-work; almost always static images. with every cut at 90 degree angles. And again, when that rule is broken there are specific thematic and storytelling reasons. A challenging, 'difficult' film, but one not to be missed.
    6zetes

    Someone has to provide the admittedly obvious complaints, so I'll do it

    A film that is much more interesting to read about than actually watch. Akerman takes "realism" to a new level, basically setting up a camera and observing a very lifeless, dull person for 200 minutes. That woman, played by Delphine Seyrig, is a prostitute, catering to a client a day in her depressing apartment, as well as a single mother. We study her daily rituals as we occasionally glance down at our watches (or push the call button to see how much time is left). Okay, I get it. The problem is, I got it after the first 10 minutes. I got it, really, from reading descriptions of the film. After that, the remaining 190 minutes aren't especially worth sitting through. Notice that even after 190 minutes of breaking taboos of how not to put the audience to sleep, Akerman forces the (literally) climactic sequence. I think I understand what she was going for here, but it's not especially honest given the rest of the film. It shows that even she had to resort to a cheap narrative trick to end the film. All in all, the film is little more than a gimmick. Though I could have been doing better things with my time, I am glad I finally got to see this. I wasn't really bored out of my mind – like Jeanne Dielman, I went through my own daily rituals while glancing up at the screen. Chantal Akerman did make some accurate observations about the human condition after all, even if they are fairly shallow in themselves.
    8Xstal

    The Arc of Jeanne...

    You've formed some habits over years of being alone, transactions that take you, towards the gloam, characteristic of your standing, excepting afternoon transplanting, it's as rigid and as set, as a millstone. A subtle change seems to upset the fine-tuned balance, it's got you searching inwardly, looking askance, the equilibrium disturbed, there are things need to be curbed, it's got you wandering around, locked in a trance.

    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.
    8WilliamCKH

    GOAT ! ?

    I can understand how the Sight & Sound Poll might have ranked this film on the Top of their list. Given the rules, I can see how many critics would have this film in their Top Ten. After all, every list needs an outlier, a film to cleanse the palette amongst the many genre films synonymous with this list, and JD may rise to the top in that category. When the votes are counted, this film may well be included in the majority of the ballots.

    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).

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    Handlung

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    Wusstest du schon

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    • Wissenswertes
      Jeanne Dielman's obsessive and exacting ritualistic behavior was inspired by director Chantal Akerman's mother, Natalia Akerman.
    • Patzer
      From 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?

    • Verbindungen
      Edited into Les variations Dielman (2010)
    • Soundtracks
      Bagatelle for Piano
      Composed by Ludwig van Beethoven

    Top-Auswahl

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    FAQ16

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    Details

    Ändern
    • Erscheinungsdatum
      • 21. Januar 1976 (Frankreich)
    • Herkunftsländer
      • Belgien
      • Frankreich
    • Sprache
      • Französisch
    • Auch bekannt als
      • Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
    • Drehorte
      • Brussels, Brussels-Capital, Belgien
    • Produktionsfirmen
      • Paradise Films
      • Unité Trois
      • Ministère de la Culture Française de Belgique
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Weltweiter Bruttoertrag
      • 41.466 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 3 Std. 22 Min.(202 min)
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.66 : 1

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