Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

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.

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.

The director was only 24 years old when this film was released and that's cool but obviously she lacked the skills of making a really good film. She made it easy for herself. The camera should not move, just stand there. This does not demand a skilled cinematographer. The actors should not talk, just do stuff like cooking food and reading. This does not demand good actors. It is not demanding to write the script either.

But we don't understand the film, right? If we understood it, we would acknowledge its greatness, right? No. We fully understand that the message the director wants to convey is that many women's lives suck and that they are fed up with society, life and being housewives and that men are to blame. They become depressed and crazy because of this. We do understand this. However, that political message in itself is not enough for a great movie.

How could this be ranked as number one on the Sight & Sound poll? It is sad. She was so young when she directed this film and you can tell by watching it! It is absolutely not the greatest film in the world. It is more like a typical film one would do if you lacked the resources to do something greater.

There are some clichés in the movie as well.

I give the film a 2-rating because I acknowledge some qualities. For example, the movie became pretty creepy in the end.

Any work of art this preposterously boring can only be considered a failure. Yup, we're going there.

Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles is 201 minutes of three days in the life of its titular heroine, played intentionally blank by Delphine Seyrig. That's a run time of about three and a half hours--time Akerman spends following Seyrig's Dielman around doing errands, cooking food, watching a neighbor's baby, sitting around, doing some sex work, and caring for her young adult son. Yeah, sex work is the odd one.

The film deserves credit for depicting her sex work as a clean and unsensationalized expression of self-ownership--until of course it throws that all away in the film's stupid sex-is-death conclusion and squanders the only good will it had earned with me. Dielman's relationship with her son is wrapped up in a lot of dated Freudian BS, and rings utterly hollow to those of us living beyond the 1970s. That leaves a whole lot of boring stuff, and that stuff is a whole lot of boring.

The bulk of this film consists of a static camera watching a woman do housework. It's like the much-lauded maid scene of Umberto D, but stretched across three excruciating hours. This is presumably meant to be oppressive and disturbing, and here Akerman crucially misunderstands the effect of her art on its audience: the only possible spectatorial response, so far as I can tell, is supreme disengagement. Just as I daydream when I do housework, so does my mind wander while watching Jeanne Dielman of 23 quai du Commerce 1080 Bruxelles cook the potatoes. People retreat to their thoughts when they do this stuff in real life, and they retreat when you faithfully reproduce it on screen. The film can't possibly engage me politically or emotionally as art if I'm spending the entire run time thinking about whether I get paid this Friday and what I'm going to cook for dinner.

The question is, is Akerman aware of the human proclivity toward idle thought during mundane tasks? Because this film is only oppressive and uncomfortable if it's empty, if this woman doesn't dream then this numbing boredom could have something to say. But that doesn't work: we all think all the time, we all daydream. Does Jeanne Dielman of 23 quai du Commerce 1080 Bruxelles daydream? Presumably so, but the film is so damned externalized that I have no idea what she's thinking. And without her thoughts to guide me through these three and a half irretrievable hours of my one wild and precious life, I'm left with my own.

As such, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles's conclusion is spectacularly unmotivated and completely unearned. The finale is entirely unsupported by its previous action because this was, for me, a film about what type of sandwich I'll eat when I get home and what's going on this weekend. -TK 10/7/10

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).