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Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

  • 1975
  • Tous publics
  • 3h 22min
NOTE IMDb
7,5/10
16 k
MA NOTE
Delphine Seyrig in Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (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.
Lire trailer0:52
2 Videos
96 photos
DrameDrame psychologique

Une femme au foyer solitaire et veuve vaque à ses occupations quotidiennes, fait le ménage dans l'appartement où elle vit avec son fils adolescent, et se livre occasionnellement à la prostit... Tout lireUne femme au foyer solitaire et veuve vaque à ses occupations quotidiennes, fait le ménage dans l'appartement où elle vit avec son fils adolescent, et se livre occasionnellement à la prostitution pour joindre les deux bouts. Toutefois, quelque chose se produit qui va changer sa r... Tout lireUne femme au foyer solitaire et veuve vaque à ses occupations quotidiennes, fait le ménage dans l'appartement où elle vit avec son fils adolescent, et se livre occasionnellement à la prostitution pour joindre les deux bouts. Toutefois, quelque chose se produit qui va changer sa routine tranquille.

  • Réalisation
    • Chantal Akerman
  • Scénario
    • Chantal Akerman
  • Casting principal
    • Delphine Seyrig
    • Jan Decorte
    • Henri Storck
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,5/10
    16 k
    MA NOTE
    • Réalisation
      • Chantal Akerman
    • Scénario
      • Chantal Akerman
    • Casting principal
      • Delphine Seyrig
      • Jan Decorte
      • Henri Storck
    • 144avis d'utilisateurs
    • 100avis des critiques
    • 94Métascore
  • Voir les informations de production sur IMDbPro
  • Vidéos2

    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

    Photos96

    Voir l'affiche
    Voir l'affiche
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    Rôles principaux6

    Modifier
    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
    • (voix)
    • (non crédité)
    • Réalisation
      • Chantal Akerman
    • Scénario
      • Chantal Akerman
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs144

    7,516.4K
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    Avis à la une

    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.
    kindigth

    Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles

    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
    10edula

    Hypnotic...

    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.
    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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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Jeanne Dielman's obsessive and exacting ritualistic behavior was inspired by director Chantal Akerman's mother, Natalia Akerman.
    • Gaffes
      From around 01:11:18 to 01:11:36, we can see the boom mic on right of the frame.
    • Citations

      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?

    • Connexions
      Edited into Les variations Dielman (2010)
    • Bandes originales
      Bagatelle for Piano
      Composed by Ludwig van Beethoven

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    FAQ16

    • How long is Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 21 janvier 1976 (France)
    • Pays d’origine
      • Belgique
      • France
    • Langue
      • Français
    • Aussi connu sous le nom de
      • Jeanne Dielman, 23 Commerce Quay, 1080 Brussels
    • Lieux de tournage
      • Brussels, Brussels-Capital, Belgique
    • Sociétés de production
      • Paradise Films
      • Unité Trois
      • Ministère de la Culture Française de Belgique
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut mondial
      • 41 466 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 3h 22min(202 min)
    • Couleur
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 1.66 : 1

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