![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/5c/94/0022945c_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/5c/94/0022945c.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)
2xDVD9 | VIDEO_TS | NTSC 16:9 | 03:21:40 | 7,59 Gb + 7,49 Gb
Audio: French AC3 1.0 @ 384 Kbps | Subtitles: English
Genre: Drama | The Criterion Collection #484
2xDVD9 | VIDEO_TS | NTSC 16:9 | 03:21:40 | 7,59 Gb + 7,49 Gb
Audio: French AC3 1.0 @ 384 Kbps | Subtitles: English
Genre: Drama | The Criterion Collection #484
Director: Chantal Akerman
Stars: Delphine Seyrig, Jan Decorte, Henri Storck
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 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.
The title of Chantal Akerman’s singular Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles tells us everything and nothing. We have a woman’s name and her address, which on the surface provides us fundamental information about her identity, but tells us not a thing about the woman herself: what she thinks, what she feels, what she loves, what she fears–in essence, her real identity, who she is. And it is precisely that lack of identity that drives the film and keeps us riveted even though it is so bereft of what we would typically consider events of dramatic import. The title, then, establishes the film’s main character (who appears in virtually every shot in the film) and where the majority of the action takes place, but it tells us nothing of the film’s maddening, hypnotic, fascinating, mundane, electrifying, mind-numbing, and ultimately shocking nature.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/6f/94/0022946f_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
The story is structured as a portrait of three days in the life of a seemingly ordinary middle-class widow and mother named Jeanne Dielman (Delphine Seyrig). The film is told entirely in static medium and medium long shots, which both privilege and deny visual information. On the one hand, the camera’s studious intrusion into domestic spaces that are usually left out of filmic narratives gives us an undeniably fascinating sense of fly-on-the-wall surveillance (or, better yet, voyeurism), yet the camera is also frustratingly restrictive in the way it refuses to move when Jeanne walks past, sometimes just sitting there when she leaves the frame, fixed on an empty room or hallway as if waiting for her return.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/70/94/00229470_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
Akerman’s aesthetic, which is also shorn of extradiegetic music (that most emotionally manipulative of devices), seems primed to deny many of the typical pleasures of Hollywood cinema, most directly the close-up, that visual mainstay of the character study that allows us into a character’s personal space to observe all the physical details of his or her emotional terrain. At all times, Jeanne remains at a distance, sometimes even with her back turned to us for long periods of time (this is, in fact, how she is introduced in the film, washing dishes while turned away from the camera).![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/71/94/00229471_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
As the film progresses, we get to know Jeanne’s daily routine, which consists almost exclusively of housework like cooking, cleaning, making the bed, folding laundry, and generally tidying up, all of which is punctuated with the rhythmic clacking of her heels on the hardwood and the ritualistic switching on and off of lights as she enters and leaves rooms. I say “almost exclusively” because there is one other activity in which Jeanne engages every day: prostituting herself in the afternoons.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/72/94/00229472_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
While this would seem to be a radically dramatic wrinkle in her otherwise mundane existence, it is treated with the same unwavering aesthetic, which effectively turns sex with strangers for money into yet another part of the daily routine. The fact that Jeanne stores the money in a beautiful porcelain bowl that is the centerpiece on the dining room table and gives the money to her rather sullen teenage son Sylvain (Jan Decorte) further intertwines the scandalous side job with ordinary domesticity.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/73/94/00229473_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
The one-bedroom flat in Brussels that Jeanne shares with Sylvain is neat and orderly and at first appears to be homey, although it eventually becomes suffocating. The real-time depiction of Jeanne’s repetitive chores–the “hidden labors” of the domestic realm that, prior to this film, had never been the focus of the camera and are thus the center of Akerman’s argument that Jeanne Dielman is a feminist film–forces us to consider them at length in a way that we normally would not, not even when doing them ourselves.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/74/94/00229474_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
It is a brilliant and unnerving way of making the ordinary seem alien, and we start to feel what we are quite sure Jeanne must also feel: boredom and alienation. Like the experimental real-time films of Andy Warhol, Jeanne Dielman makes time its organizing device, in the process causing us to question the very nature of time itself and how it shapes our understanding of even the most mundane events. Akerman plays with details, and those who observe closely start to recognize the unraveling of Jeanne’s world during the third day, not in ways that are grandly dramatic, but rather small and, in their own way, even more distressing for their lack of grandeur.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/75/94/00229475_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
At all times, though, Akerman relentlessly keeps us at arm’s distance from Jeanne, refusing us entry into her psyche, which forces us to glean it for ourselves off the surfaces of her daily routines. We gradually learn bits and pieces about her life–that her husband died six years ago and she refuses to remarry, that she has a sister who lives in Canada–but she never overtly reveals herself psychologically. In one scene Sylvain explains a dream he had of sexual violence, and she simply tells him that he shouldn’t worry about it, which suggests an obvious level of sexual repression that has great explanatory potential, yet somehow feels woefully inadequate.![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/76/94/00229476_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]]()
It seems more like that Jeanne is meant to be an enigma, which is reflected in Akerman’s canny casting choice. While Jeanne is clearly meant to be an “ordinary” woman going about an “ordinary” life, Akerman did not cast an unknown, but rather Delphine Seyrig, whose starring roles in such films as Alain Resnais’s Last Year at Marienbad (1961) and Luis Buñuel’s The Discreet Charm of the Bourgeoisie (1972) had given her a kind of star power among the art film crowd that was most likely to attend a film like Jeanne Dielman. Thus, Jeanne is simultaneously a very specific woman and an “everywoman,” which gives the film a sharp dual edge with which it cuts through the banality of hidden labor and exposes the dark recesses beneath.
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/6f/94/0022946f.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/70/94/00229470.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/71/94/00229471.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/72/94/00229472.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/73/94/00229473.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/74/94/00229474.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/75/94/00229475.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/76/94/00229476.jpeg)
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/77/94/00229477_medium.jpeg)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]
![Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [The Criterion Collection #484] [ReUp]](https://pixhost.icu/avaxhome/77/94/00229477.jpeg)
Special Features (all extras is on DVD2):
- Restored digital transfer, supervised and approved by director Chantal Akerman
- Autour de “Jeanne Dielman,” a 69-minute documentary - shot by actor Sami Frey and edited by Agnes Ravez and Akerman - made during the filming of Jeanne Dielman
- Chantal Akerman on Jeanne Dielman (20:19)
- New interviews with Akerman and cinematographer Babette Mangolte (22:40)
- Excerpt from “Chantal Akerman par Chantal Akerman,” a 1997 episode of the French television program Cinéma de notre temps (17:15)
- Interview with Akerman’s mother, Natalia (28:12)
- Archival television interview excerpt featuring Akerman and star Delphine Seyrig (6:51)
- Saute ma ville (1968), Akerman’s first film, with an introduction by the director (13:02)
- New and improved English subtitle translation
All Credits goes to Original uploader.
No More Mirrors, Please.
A316AADDB4D2E2632B6D3DD07614EDD2 *Crit484.D1.avaxhome.ru.part01.rar
95293E41FDB2E957372AAE120DF649F9 *Crit484.D1.avaxhome.ru.part02.rar
77E6D249B5D10E2A1DB4626C285F2141 *Crit484.D1.avaxhome.ru.part03.rar
3F2F32925B068E1DB20B52B1B8CCD025 *Crit484.D1.avaxhome.ru.part04.rar
5BB41B057FA050D1B7DFF09ED49ED908 *Crit484.D1.avaxhome.ru.part05.rar
5ACF2CB0851A522701137E47B8725F3E *Crit484.D1.avaxhome.ru.part06.rar
9288F13458522E4474F8B7CB0F4779FD *Crit484.D1.avaxhome.ru.part07.rar
93EEEDB00D30430FD2C16EBC511E112B *Crit484.D1.avaxhome.ru.part08.rar
D54524639CD552A5A415C1D3839A15F2 *Crit484.D1.avaxhome.ru.part09.rar
D58F3A38394270D1898FABFB4A533C1A *Crit484.D1.avaxhome.ru.part10.rar
C491845F32608D2840774DE624DD52AE *Crit484.D1.avaxhome.ru.part11.rar
E629C794A051647F0494981921E03965 *Crit484.D1.avaxhome.ru.part12.rar
6755E61E4703DD2A54756FFBB2C1FE11 *Crit484.D1.avaxhome.ru.part13.rar
577154391199DF7A9D8FEE1F691816C9 *Crit484.D1.avaxhome.ru.part14.rar
3CB705E7AF75AA24262E2E7F8B407835 *Crit484.D1.avaxhome.ru.part15.rar
89D8EC028E6C26029245858765B78F01 *Crit484.D1.avaxhome.ru.part16.rar
B8A859D1E47265959E2512B5AFA4F021 *Crit484.D1.avaxhome.ru.part17.rar
3A6AECC7D35D81570B59A26771DA62FB *Crit484.D1.avaxhome.ru.part18.rar
7CC5B7E02C0FF94B3CFE4636C78ADA08 *Crit484.D1.avaxhome.ru.part19.rar
FBB3B0E252C13E23A55D39C7BD50E745 *Crit484.D1.avaxhome.ru.part20.rar
2811B84011A6E5F61389813533EC5CEE *Crit484.D2.avaxhome.ru.part01.rar
D9B0AC8D51078B9920C85FE898736ED7 *Crit484.D2.avaxhome.ru.part02.rar
18FA590311A4786184CC851CFEE1E22F *Crit484.D2.avaxhome.ru.part03.rar
90653B24945598AED8B9ADF64C4D1970 *Crit484.D2.avaxhome.ru.part04.rar
D2C05AA90AA8FF9488DA50D23A5C1547 *Crit484.D2.avaxhome.ru.part05.rar
C6E37DED7EE12131C5E2EA81901DA199 *Crit484.D2.avaxhome.ru.part06.rar
C382B66087FB24C22CB328710C0B1638 *Crit484.D2.avaxhome.ru.part07.rar
6A25D4E152A9B51EA630AC372B1E83B7 *Crit484.D2.avaxhome.ru.part08.rar
A86E0B68913A821E613C4D9A12F0064F *Crit484.D2.avaxhome.ru.part09.rar
D3F198F8C0626386203D91866CF1112B *Crit484.D2.avaxhome.ru.part10.rar
401C56B2626FA7B7B5145928D6A0B501 *Crit484.D2.avaxhome.ru.part11.rar
9734F7948FC8DB4A645CC6D79AC4E6E5 *Crit484.D2.avaxhome.ru.part12.rar
0AC35AA7FC6F23CD23C8A40092EAB4B0 *Crit484.D2.avaxhome.ru.part13.rar
E93A4E753E60061941D91DDBB5F9BF8C *Crit484.D2.avaxhome.ru.part14.rar
6A4A4A8900A6958C97EDB7BCB6CC5232 *Crit484.D2.avaxhome.ru.part15.rar
0B2D6D0626F34743E2E79A3B560E3FA4 *Crit484.D2.avaxhome.ru.part16.rar
99FBE718735CF3205B160F4756AD51D0 *Crit484.D2.avaxhome.ru.part17.rar
88E9973D5A7EF71768E3E98CB6C74BC5 *Crit484.D2.avaxhome.ru.part18.rar
19FBA1F0F49B322AA91554628697AE03 *Crit484.D2.avaxhome.ru.part19.rar
D6D1DC8327ED72370B9F21462B9991EC *Crit484.D2.avaxhome.ru.part20.rar