Jeanne Dielman, 23, Quai Du Commerce, 1080 Brux...
Download File --->>> https://geags.com/2tInko
After establishing herself as a major film director in 1974 with Je, tu, il, elle, Akerman said that she "felt ready to make a feature with more money" and applied for a grant from the Belgian government for financial support, submitting a script that Jane Clarke described as portraying "a rigorous regimen [constructed] around food ... and routine bought sex in the afternoon". This script would only be the rough basis for Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles because after Akerman received the government grant of $120,000 and began production, she threw the script out and began a new film instead. Akerman also explained that she was able to make a female-centric film because "at that point everybody was talking about women" and that it was "the right time".
Shooting Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles took five weeks and Akerman called it "a love film for my mother. It gives recognition to that kind of woman". Akerman used an all female crew for the film, which she later said "didn't work that well - not because they were women but because I didn't choose them. It was enough just to be a woman to work on my film ... so the shooting was awful". Akerman further stated that the film is a reaction to "a hierarchy of images" in cinema that places a car accident or a kiss "higher in the hierarchy than washing up ... And it's not by accident, but relates to the place of woman in the social hierarchy ... Woman's work comes out of oppression and whatever comes out of oppression is more interesting. You have to be definite. You have to be".
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles premiered in the Directors' Fortnight of the 1975 Cannes Film Festival. It initially met with mixed critical reception; many criticized it as a boring or meaningless exercise in minimalism, while others praised its visuals and use of time. The film's exposure and financial success in Europe helped Akerman to obtain funding for her 1978 film Les Rendez-vous d'Anna. Jeanne Dielman was not released in the United States until 1983.
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles has garnered a cult following and praise from the film community. Filmmakers Todd Haynes, Gus Van Sant, and Céline Sciamma have drawn explicit influence from the film; Van Sant named it an inspiration for his own similar films Gerry (2002) and Elephant (2003). The film has also been subject to spoofs and parodic versions. With the release of the DVD edition by The Criterion Collection in 2009, the company held a contest that invited fans to create cooking videos inspired by the film, and to post them on YouTube. On the review aggregator website Rotten Tomatoes, 95% of 55 critics' reviews are positive, with an average rating of 8.7/10. The website's consensus reads, "[the film] offers a lingering, unvarnished, and ultimately mesmerizing look at one woman's existence."
A film that has been analyzed and argued over since it was first released in 1975, Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles continues to spur debate nearly 50 years later. In 2022, the film made a shocking rise to the top spot in Sight and Sound's 2022 critics poll, marking the first time a film by a female director had earned the distinction. A truly singular work in the history of film, Akerman's cinematic experiment is an exacting and meticulously detailed look at the daily chores and routine of a lonely widowed housewife raising her teenage son. 781b155fdc