29 thoughts on “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1976)

  1. Yet further evidence that feminism is the kiss of death for the female. All the Oedipus references in this movie could have been said in 20 minutes. The Village Voice in the 70s could not shut up about this hack. Doesn't surprise me.

  2. R.I.P pour une véritable orfèvre du cinéma, surtout pour témoigner des moments les plus froids de l'existence. Merci.

  3. this is a very big potatoe ! is it in slow motion ? She looks like talking seriously and secretly to the potatoe : maybe about the existence of God !

  4. What kind of a message does this film convey via its premise? That housework plus prostitution is worse than working in a coal mine? How big of an idiot you and your ilk are, who feel offended whenever and whereever they smell a taint of feminism. It is not about "technical" aspects, it is about the actual experience of watching the film. If you don't give a damn about it because you don't care about the leading character, fine. But don't criticize non-existent messages.

  5. This trail of comments amazes me… I just opened a notice that I'd received a response to a 5-yr-old post. This film will never die. In all her bonne femme efficiency, serenity, and simplicity, Jeanne Dielman is
    Maman as housewife: simpleton, innocent, whore, devoted mother, cold blooded killer. It does not deceive, but observes without comment. Difficult to accomplish. Boring? This is a suspense thriller for poets of the banal.

  6. This is like saying the technical aspect is the only valid criterion upon which one can judge "Triumph of the Will". When the film is conveying a message through its premise, there's nothing wrong with criticizing its message via the premise.

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