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Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

Chantal Akerman
 Cast: Chantal Akerman
Chantal Akerman
, Delphine Seyrig
Delphine Seyrig
, Jan Decorte
Jan Decorte
, Jacques Doniol-Valcroze
Jacques Doniol-Valcroze

Blu-ray (Special Edition / Wide Screen / Restored)

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A classic of both feminist and experimental filmmaking, Chantal Akerman's marathon dissection of the life of Belgian housewife/mother/prostitute Jeanne Dielman (Delphine Seyrig) stays on the surface of the details of Jeanne's humdrum daily life, as if it were a real-life, real-time documentary of an ordinary life, in the tradition of Agnès Varda's earlier New Wave landmark, Cleo From 5 to 7 (1961). Jeanne feeds her son, fixes potatoes, does the marketing, entertains gentlemen -- but things slowly, almost imperceptibly start to go wrong, first those potatoes, and then, finally, something more shocking. Akerman sets out to capture the rhythm of daily life, even as that pace sets us up, after several hours, for the almost tossed-off, blink-and-you'll-miss-it climax.

Product Details

Release Date: 05/09/2017
UPC: 0715515196512
Original Release: 1975
Rating: NR
Source: Criterion
Region Code: A
Presentation: [Wide Screen]
Time: 3:21:00
Sales rank: 15,690

Special Features

New 2k digital restoration, undertaken by the Cinematheque royale de Belgiue and supervised by Director Chantal Akerman and Cinematographer Babette Mangolte, with uncompressed monaural soundtrack; Autour de "Jeanne Dielman, "a documentary-shot by actor Sami Frey and Edited by Agnes 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 Cinema 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

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