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Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles

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Belgium, France · 1975
3h 22m
Director Chantal Akerman
Starring Delphine Seyrig, Jan Decorte, Henri Storck, Jacques Doniol-Valcroze
Genre Drama

A lonely widowed housewife takes care of her apartment where she lives with her teenage son. She does her daily chores, cooks and cleans, and uses sex work to make ends meet for her and her son. Slowly, her ritualized daily routines begin to fall apart.

Stream Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles

What are people saying?

Stella Rumble Profile picture for Stella Rumble

A wonderful film that has really stuck with me since I first watched it. The stationary camerawork along with the subtle yet incredibly important detailing make this film so smart and unforgettable. A classic from Akerman.

Nina Gallagher Profile picture for Nina Gallagher

While some may find Akerman's epic of the banal a bit monotonous, I find the the pace and structure of the plot almost thrilling. Chantal Akerman's film is a masterclass in patience and empathy, allowing the audience to sit in the life and experiences of her main character. Never truly looking away from her, the film creates a unique sort of empathy for the viewer, crafting an unmissable film.

Soah Blake Profile picture for Soah Blake

After three days spent with Jeanne, I decided that this might be the most horrifyingly beautiful movie I have ever seen. It's so nuanced, making me simultaneously want to bang my head against the wall just to have something else to do while watching and also spurring a deep desire in me to reach into the film and hug her.

What are critics saying?


TV Guide Magazine by

It's not a brisk 201 minutes but it is engrossing and rewarding, a painstakingly realistic account (oozing verisimiltude out of every frame, and there are a lot of frames) of three days in the life of the female protagonist of the title, portrayed by Delphine Seyrig.


Collider by Chase Hutchinson

Not only is it a stunning piece of filmmaking that is as rich in detail as it is patient in its exploration, but it also makes the most of absolutely every single element of its slice-of-life portrait.


Slant Magazine by Eric Henderson

Chantal Akerman’s 1975 experiment in film form, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, is an astonishing work of subtextual feminism which has to count as one of the seminal films of the 1970s.


ReelViews by James Berardinelli

Being fascinating and unique, two qualities unquestionably in evidence here, don’t automatically deserve praise and, because of the film’s high quotient of tediousness, I find it impossible to recommend to any but the most devoted of experimental art film lovers. It works very well, however, as a cure for insomnia.


LarsenOnFilm by Josh Larsen

Ultimately, Jeanne Dielman registers not as a condemnation of domesticity, but a document of the exhaustion that comes from caring for others and never receiving care in return.


Miami Herald by Rene Rodriguez

Jeanne Dielman is not for all tastes. But for those with the necessary patience, it is a game-changing masterpiece. [11 Sep 2009, p.G18]


The New Yorker by Richard Brody

Akerman’s chillingly sardonic feminist fable—which also bears the weight of unspoken wartime trauma—is built on a sublime paradox, the elusive identity of someone who, as the title suggests, is so easily identified.


The A.V. Club by Scott Tobias

Chantal Akerman’s radical 1975 masterpiece Jeanne Dielman, 23 Quai Du Commerce 1080 Bruxelles turns the term “realism” on its face, exploring the contours of a woman’s life through the mundane routines that never make it into movies.


The New York Times by Vincent Canby

Jeanne Dielman... has been described as minimalist, though I don't see how any film this long and so packed with information could be equated with minimalism as defined in painting. The manner of the film is spare, but the terrible, obsessive monotony of the life it observes is ultimately as melodramatic as, say, Roman Polanski's ''Repulsion.''

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