On Friday evening, the Harvard Film Archive in Massachusetts, kicks off Breathing Through Cinema, a six-week retrospective of works by the late Chantal Akerman, with a screening, in 35 mm, of her early masterpiece Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975). Akerman was just twenty-five years old when she made the film, which depicts, in a series of increasingly tense long takes, the regimented routine of a single mother and part-time prostitute (Delphine Seyrig). At once a rigorous structuralist experiment, a stealthily revealing character study, and a feminist statement on alienation within the domestic sphere, the three-hour-and-twenty-one-minute film “works like a time bomb,” as scholar Ivone Margulies notes in the liner essay included on our edition of the film, recently released on Blu-ray. “And yet the acuity and amplified concreteness of [Akerman’s] images creates a visible instability: as the shot goes on, the viewer becomes aware of his/her own body, restless and then again interested.”
An Antiwar Film for the Ages Returns to Theaters
Elem Klimov’s devastating chronicle of World War II, Come and See, is back on the big screen in a new restoration. Here’s what the critics have to say about this Soviet masterpiece.
Two Stark Visions of the American Underbelly Hit the Big Screen
A new restoration of the groundbreaking vérité documentary Streetwise joins its companion piece, Tiny: the Life of Eric Blackwell, at New York’s Metrograph theater this weekend.