Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) 720p YIFY Movie

Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)

Jeanne Dielman, a lonely young widow, lives with her son Sylvain following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.

IMDB: 7.81 Likes

  • Genre: Drama |
  • Quality: 720p
  • Size: 1.81G
  • Resolution: 1204*720 / 23.976 fpsfps
  • Language: fre 2.0  
  • Run Time: 202
  • IMDB Rating: 7.8/10 
  • MPR:
  • Peers/Seeds: 1 / 7

The Synopsis for Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) 720p

Jeanne Dielman, a lonely young widow, lives with her son Sylvain following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.


The Director and Players for Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) 720p

[Role:]Jacques Doniol-Valcroze
[Role:]Henri Storck
[Role:]Jan Decorte
[Role:Director]Chantal Akerman
[Role:]Delphine Seyrig


The Reviews for Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) 720p


about everyday things, or an action movieReviewed byQuinoa1984Vote: 10/10

Few films can actually claim originality: some early on may have pioneered techniques or acting styles, but as has been said before and again there are only so few stories to tell. It's the variation that counts, and as a variation on the 'everyday grind' as it were, Jeanne Dielman is one of the most original breakthrough films one could experience. It's three and a half hours of, as one might say, nothing "happening". The story is the woman, what she does, the ritual of her given tasks in silence, loneliness, a widowed mother who cooks, cleans, shops, eats, sleeps, bathes, and wits without a seeming challenging thought to perceive.

You will know within fifteen minutes if you can stick with it. Ideally one wont watch this right before bedtime, but Chantal Akerman makes sure that her audience is tuned in to her experiment (or not, as some have noted). I imagine she would even be fine if some stop watching early on or walk out. She's making a provocation by her method of timing. For those who do stick around, she knows she'll give a true "action" movie. It's the antithesis of Hollywood action fare. For example, the average shot-length for a Hollywood blockbuster is about four or five seconds tops. Here, it's roughly four minutes. Per shot. If you ever wondered, just once, if a filmmaker could put an intense amount of focus and patience on a woman making coffee or washing the dishes, or taking a (very un-erotic) bath, or staring at space, look no further.

But Akerman, in tracking Jeanne (perfectly sedate and blank-faced and mechanical Delphine Seyrig) in her three days of time in the film, is not simply making a decision totally alienate her audience. Every action here, every little chore or quiet dinner or knitting serves a purpose for this narrative. When we experience ritual and seemingly simple tasks of work around the house or chores, in real time, the underlying problem is revealed. There is obsession, a mechanical way about doing the same thing over and over, which also goes over into Jeanne's casual afternoon prostitution gigs.

What it reveals, I think, is a character like Jeanne's ultimate lack of free will and character which, by proxy, Akerman means to say is a problem among many women who have nothing but housework and kid(s). That the camera never, not once, moves by way of a pan or tilt or zoom-in or tracking shot or whatever (or, for that matter, a close- up) adds to the static imprisonment of it all. The final primal act is, in fact, a kind of desperate but real act towards a change, something out of the same grind of the usual.

Akerman's direction is unrelenting and sparse, and could be considered a pre-Dogme 95 film if not for the (artificial?) lighting from outside into the apartment at night. It's less a slice of life than a scalding hit pie that you watch cool off in real-time on the counter. Some may be deterred by the length, or the arguable disdain for dialog except for a few key scenes (reading the letter and telling a brief back- story on Jeanne's marriage, by the way both done as ritualistic and blank as cleaning dishes). For me, the lack of easy melodrama or conflict actually upped the stakes. I cared about Jeanne, despite her existential trap, that she might break out of the static world of daily action and minutia. It's a staggering piece of work by a young, courageous artist with something to say, in a take-it-or-leave-it approach.

Not like the othersReviewed byhotel-419-417395Vote: 9/10

This movie is deliberately different, all in the service of telling us something we didn't know.

Movies are about movies. The borrow plot, character, lighting, sound editing and camera angles from what went before. Since "Birth of a Nation" introduced close-ups, cross cutting and cutaways in 1915 everyone has adopted that vocabulary for story telling. This movie throws all that out: The camera is fixed and stares at a scene for a very long time. Scenes had to be performed all the way through when they were filmed, because each was done in a single shot.

Movies use telescoping of time to compress the happenings of a long period into two hours. This movie tries to avoid that, depicting mundane tasks in their entirety. We watch Jeanne Dielman prepare a meatloaf, step by step, wash the dishes (her back is to us!), smooth the bed, or go shopping.

Movie use facial expressions to express feelings. Spoiler alert: When we get strong facial expressions from Jeanne Dielman there is a very good reason. And that only happens once in a three-hour, 21 minute film.

Movies use broad strokes to carry the audience along. Spiderman supplements explosions with 3D to keep me occupied. By contrast, this film uses subtle changes. You must watch closely to see what happens.

Most movies come to you. This movie requires you go to it. If there is dullness it is among those viewers who think that because they don't get something it's not there to get. There is plenty here but instead of being served to you it has to be harvested. And it is very fresh.

Don't Watch While HungryReviewed byhomerjethroVote: 4/10

Really, really wanted a slice of meatloaf while watching this. Just a few observations from someone with a huge Criterion library who enjoys "artsy" films:

(1) This film might have appeal to students who want to see the results of static scenes. Or it might impress those who need to actually see boring routines play out to get the point (the pocketbook on the table gets my vote for best actor). Or it might be an opportunity for people to yell advice at the screen ("Sit down while polishing shoes!" "You're kneading the meatloaf wrong!" "Turn on the radio while you're working!"). Otherwise...meh.

(2) For those who insist that the length is appropriate, I haven't noticed anyone saying that the film would be better at six hours. If she really wanted to make a point, why not film six days? Heck, who knows what exciting things she does the rest of the week...perhaps Ackerman just chose the three days when little happens other than routine (seemingly embraced by the protagonist with little effort to perk up her existence. Maybe she's enjoying herself, or maybe she has an active imagination that allows her to entertain herself).

(3) Drying paint on walls has no choice in its banal existence. Humans do have choices. Anyone who doesn't understand that or doesn't know people who don't exercise their choices & live in ruts needs to volunteer to work with the public. Then Ackerman's film won't seem so much like a "masterpiece."

(4) If this film is "brave" (whatever that is supposed to mean), here's an exercise in artistic courage: Take a blank sheet of paper to your local art gallery and insist that they display it (perhaps with a huge price tag) to demonstrate your minimalist talent. If they are the pretentious sort and comply, you'll be sure to be lauded by the same sort of snobbish viewers who love to chide others for calling out pretension.

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