Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles - Review

Originally Reviewed Feb. 05, 2023

5/5

Roger Ebert once wrote, "We live in a box of space and time. Movies are the windows in its walls. They allow us to enter other minds -- not simply in the sense of identifying with the characters, although that is an important part of it, but seeing the world as a person sees it." I read this excerpt in Ebert's The Great Movies yesterday when I decided to do something I rarely do nowadays, read. It seems almost fate that on the eve of watching Jean Dielman, 23, quai du Commerce, 1080 Bruxelles I should read a quote that so eloquently captures what this picture is. While it does act as a window into the life of a widowed housewife in Brussels, it also acts as a beautiful symbolic piece that examines themes of womanhood, sexual repression, mundanity, feminism, and so much more. It is the definition of a slow burn and yet makes full use of its 3h 21m runtime. This picture relishes its brutal long takes and relies solely on shot composition to add visual interest to scenes. The film also features very little dialogue, but when sounds are made, they are of great importance and should be examined carefully. The performance by Delphine Seyrig as the title character is one of subtlety. She performs tasks and goes about her day, but as the story unfolds, she visibly changes. Her actions alter, her expressions break, and her eyes convey a sadness deep within her being. This picture is not for everyone and will surely scare some away. Even a couple of individuals left during my screening today. However, if you are attentive, willing, and able, a viewing of Jeanne Dielman... will reveal a beautiful piece of art that deserves to be in the pantheon of great films.