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JEANNE DIELMAN

Belgium / France, 1975 (MIFF 1979)

Director: Chantal Akerman

In the space of a few years, Jeanne Dielman has become known as one of the most important works of modern cinema. In it the director, Chantal Akerman, while using conventional narrative elements (the life of a housewife closely and minutely observed), introduces a new approach to the relationship between film time and real time; experiments with new uses of space and sound, and further explores the relationship of the camera to the objects and action before it.

The film covers three days in Jeanne's life, devoting roughly an hour to each.

The first sets out her routine, carried out with great care and deliberation. She gets up, prepares her son for school, grinds the coffee beans, washes the dishes, makes the beds, shops, minds her neighbour's baby, bathes, prepares the meals, helps her son with his homework, goes for an evening walk, goes to bed.

To supplement her income, she works as a prostitute, having permanent customers each allocated a particular day of the week. This aspect of her life is treated in the film as simply another ritual in her daily routine.

We see Jeanne talking briefly with other women outside the apartment; her son also insists on conversation. During the first night, he asks her how she met his late father. During the second, he confesses to his own confused feelings about sex clearly disturbing her.

The customer of the second day stays longer than expected, upsetting Jeanne's routine. This is the beginning of a series of disruptions and mental slips, carrying over into the third day, that become more frequent and gradually intensify, greatly affecting Jeanne's stability. She wanders in and out of rooms, anxious and disoriented, her efficiency eroded.

It is not until she is with the third client that the film shows her making love, leading to the final, climactic episode in our long journey to the understanding of Jeanne Dielman.

Chantal Akerman

Born: 1950. Between 1968 and 1973, made six short and medium length films.

Features: Je tu il elle (1974), Jeanne Dielman (1975), News From Home (1977), Meetings of Anna (1978).

See also...

GOLDEN EIGHTIES (PG)

Belgium, France, 1986
“Like Jacques Demy on speed.” - Time Out ... Chantal Akerman's candy-coloured musical is set entirely in a Parisian shopping mall, in an unashamed celebration of 80s French pop, young love and fr… More »

PIERROT LE FOU (M)

France, 1965
“I saw Pierrot le fou by chance… I decided to make movies the same night.” - filmmaker Chantal Akerman. ... Marking a transition between Jean-Luc Godard's earlier works and his later more … More »

THE MEETINGS OF ANNA

Belgium/France/West Germany, 1978
In 1975, Chantal Akerman made Jeanne Dielrnan, 23 Quai du Commerce, 1080 Bruxelles, and since then, she has been in the forefront of a developing feminist cinema. Les rendez-vous d'Anna Chantal Akerm… More »

ALL ONE NIGHT

France, 1982
lmages of night and images of love are ... interwoven with each other, couples ... meet and separate, fragments of life are ... captured in short scenes. They don't tell ... a story, and yet, they te… More »

THE EIGHTIES

Belgium, 1983
The Melbourne Him Festival has been showing Chantal Akerman's highly original and demanding films regularly over the years ("Jeanne Dielrnan", "Les Rendezvous D'Anna", "Toute Une Nuit",) with varying… More »

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