Synopsis
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. Slowly, her ritualized daily routines begin to fall apart.
Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles
1975 Directed by Chantal Akerman
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Alternative Title
Jeanne Dielman, 23 Rue du Commerce
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Adam was right, I can’t stop thinking about it. A boring, frustrating, painful experience of a movie that is also kind of brilliant. A unique film you should check out if you’re willing to be bored out of your mind for nearly 3 and a half hours.
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Like is usually the case with these sorts of things, the day-to-day maintenance operations of and for the patriarchal state are performed almost entirely by women. As the subjugated, enslaved class, they engaged in the preprogrammed routinized, menial labor without which the patriarchy could not be. The entire physical and psycho-emotional substrate of the apparatus of their oppression is entirely dependent upon their daily activities. Women are responsible for all custodial, caretaking tasks in support of male supremacy: cooking, cleaning, education, rearing, procreation, sexual gratification, etc. What is more, the evacuation of autonomy, of personal time, of personal thought, with the burden of near-constant routine action, is a (the?) primary modality of patriarchal oppression. 'Jeanne Dielman' is not about revolution…
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a movie that sounds challenging because it is quite literally 3 hours and 20 minutes of a woman doing house work but in actual practice is somehow one of the most enthralling watches i've had in awhile. akerman's impeccable composition & mise-en-scene trains you how to experience the duration and mundanity of her routine until the smallest gestures become incredibly dramatic ones (you start to learn the routine, anticipate it and the images of it in a way that's yes static and "boring" in the way that labor is but also weirdly comforting after awhile), and when that routine is eventually shattered by a seemingly insignificant inconvenience that shifts her usual day by an hour, the one thing she had complete…
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I don't know why the routine that is depicted on the first day is taken as routine. I watched it and assumed that this rigid human being would adhere to this routine, even though each subsequent day is slightly (or drastically) different. The film succeeds in making it feel like a routine so thoroughly that the changes that come in the next two days are sharply distinct. Those static camera angles and the eerie flickering neon lights that pervade the house at night make the film seem harsh and predestined to some sort of apocalypse, and they reinforce the tight control Jeanne seems to cling to.
Jeanne seems to be in a state of self-denial, constantly moving, working to keep…
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hey guys thank you for watching my domestic housework asmr video my name is jeanne dielman and be sure to like and subscribe if you wanna see more content like this
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to be a woman is to be invisible.
this movie demands that you reckon with the hot dinner put on the table and the dishes that are cleaned every night. it does not ask or concede: it is bold in showing you every tedious routine of the labor we have shoved into kitchens and the back of our minds. this is not a wife putting on make-up before her husband wakes up so that he won't have to see her unblemished. this is every piece we have historically devalued and ignored.
a woman is mysterious and unknowable, as decades of movies and other media has drilled into our heads. who knows what they get up to? do they even have…
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lmao guys she said: "yes i do the cooking 😎 yes i do the cleaning 😜...
...and yes i do have to deal with the existential suffering generated by the loneliness and alienation i experience because of the extremely oppressive patriarchal and capitalistic society i'm hopelessly forced to live in"
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Habit, "the most imperious of all masters" (Goethe), analyzed six ways from Sunday as a bomb with a 201-minute fuse. Delphine Seyrig's eponymous Belgian hausfrau, a very cool martinet in blue smocks, is introduced with her back to the camera, later on she's decapitated by the severe frame while receiving one of her johns. The noontime Belle de Jour interlude is just one more segment in an iron-clad routine of cooking, cleaning and shopping, a petit-bourgeois clockwork zigzag pitilessly recorded by Chantal Akerman. The first line, regarding the stew: "I added less water this week, maybe that's why it's better." The pot simmering on the stove, the straightening of a bedspread, the unfolding of a couch, domestic action pieces. Her…
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love exposure
if speed (1994) was about an entire bus full of people dying if sandra bullock went below 50 mph, jeanne dielman (1975) must tend to her potatoes or else all of belgium will sink into the earth. like i didn't even think a character dropping a potato would be so character defining? and yet. all of the compassion that is put into the lens of this camera, and yet it all feels so invasive. i felt torn apart between the endlessly warm domesticity and routine, and the undercurrent of instability and voyeurism that routine represents. kind of like real life. well goodnight before this quarter-life crisis gets any worse.
