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Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

  • 1975
  • Tous publics
  • 3h 22min
NOTE IMDb
7,5/10
17 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
Drame psychologiqueDrame

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
    17 k
    MA NOTE
    • Réalisation
      • Chantal Akerman
    • Scénario
      • Chantal Akerman
    • Casting principal
      • Delphine Seyrig
      • Jan Decorte
      • Henri Storck
    • 145avis 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
    Voir l'affiche
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    Voir l'affiche
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    + 90
    Voir l'affiche

    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 utilisateurs145

    7,516.5K
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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.
    Jocke_Cineast

    Too easy, not demanding.

    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.
    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.
    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.
    8Ligeia313-1

    A Life of Quiet Desperation

    I watched this film forty years after it was made, in a theater in downtown New York City that plays only art films. Still, I was impressed by the audience's rapt attention over the 3 and 1/2 hours of the film. I too was sitting fascinated the entire time. We seemed to understand that a part of the experience of watching it was familiarizing ourselves with the details of the dignified Jeanne's existence. Every piece of furniture in her apartment is viewed over and over, and her daily routine is so minutely reviewed that it is imprinted in the mind; so, any tiny deviation jumps out as a sinister departure portending -- what? You wait worriedly to find out what it could mean. Mostly you feel a great sadness for someone who is clearly desperate to make ends meet financially, so she and her child will be okay. You see a perfectionist at work as she proceeds through the day, as though the great care she is taking shining and folding and washing will somehow result in safety for her and the child. There is a spirituality in this, and it begins to take hold of you, and you fervently hope for her survival.

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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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