Chantal Akerman

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.

Film Info

  • Chantal Akerman
  • France, Belgium
  • 1975
  • 201 minutes
  • Color
  • 1.66:1
  • French
  • Spine #484

DIRECTOR-APPROVED EDITION:

  • New 2K digital restoration, undertaken by the Cinémathèque royale de Belgique and supervised by director Chantal Akerman and cinematographer Babette Mangolte, with uncompressed monaural soundtrack on the Blu-ray
  • Autour de “Jeanne Dielman,” a documentary—shot by actor Sami Frey and edited by Agnès Ravez and Akerman—made during the filming of Jeanne Dielman
  • Interviews from 2009 with Akerman and Mangolte
  • Excerpt from “Chantal Akerman par Chantal Akerman,” a 1997 episode of the French television program Cinéma de notre temps
  • Interview from 2007 with Akerman’s mother, Natalia
  • Excerpt from a 1976 television interview featuring Akerman and actor Delphine Seyrig
  • Saute ma ville (1968), Akerman’s first film, with an introduction by the director
  • PLUS: An essay by film scholar Ivone Margulies

Purchase Options

DIRECTOR-APPROVED EDITION:

  • New 2K digital restoration, undertaken by the Cinémathèque royale de Belgique and supervised by director Chantal Akerman and cinematographer Babette Mangolte, with uncompressed monaural soundtrack on the Blu-ray
  • Autour de “Jeanne Dielman,” a documentary—shot by actor Sami Frey and edited by Agnès Ravez and Akerman—made during the filming of Jeanne Dielman
  • Interviews from 2009 with Akerman and Mangolte
  • Excerpt from “Chantal Akerman par Chantal Akerman,” a 1997 episode of the French television program Cinéma de notre temps
  • Interview from 2007 with Akerman’s mother, Natalia
  • Excerpt from a 1976 television interview featuring Akerman and actor Delphine Seyrig
  • Saute ma ville (1968), Akerman’s first film, with an introduction by the director
  • PLUS: An essay by film scholar Ivone Margulies

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
Cast
Delphine Seyrig
Jeanne Dielman
Jan Decorte
Sylvain Dielman
Henri Storck
First client
Jacques Doniol-Valcroze
Second client
Yves Bical
Third client
Credits
Director
Chantal Akerman
Written by
Chantal Akerman
Cinematographer
Babette Mangolte
Producers
Evelyn Paul
Producers
Corinne Jénart
Art director
Philippe Graff
Editor
Patricia Canino
Assistant directors
Marilyn Watelet
Assistant directors
Serge Brodsky
Assistant directors
Marianne de Muylder
Sound
Bénie Deswarte
Sound
Francoise Van Thienen
Sound editor
Alain Marchal
Sound mixer
Jean Paul Loublier
Script supervisor
Danae Maroulacou

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Jeanne Dielman, 23, quai du Commerce,
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Explore

Chantal Akerman

Director, Writer

One of the boldest cinematic visionaries of the past quarter century, the film-school dropout Chantal Akerman takes a profoundly personal and aesthetically idiosyncratic approach to the form, using it to investigate geography and identity, space and time, sexuality and religion. Influenced by the structural cinema she was exposed to when she came to New York from her native Belgium in 1970, at age twenty (work by artists like Michael Snow, Yvonne Rainer, and Andy Warhol), Akerman made her mark in the decade that followed, playing with long takes and formal repetition in her films, which include the architectural meditation Hotel Monterey (1972), the obsessive portrait of estrangement Je tu il elle (1975), the autobiographical New York elegy News from Home (1976), and the austere antiromance Les rendez-vous d’Anna (1978). Her greatest achievement to date, however, is her epic 1975 experiment Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, a hypnotic study of a middle-aged widow’s stifling routine widely considered one of the great feminist films. Such recent Akerman films as the Proust adaptation La captive (2000) and the documentary on Mexican-to-U.S. immigration From the Other Side (2002) prove that she retains her daring, vital voice.