Film

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Part of Modern Cinema: Criterion Collection and Apichatpong Weerasethakul

Sunday, October 9, 2016
7:15 p.m.

Phyllis Wattis Theater

This event has come and gone.

Chantal Akerman, Jeanne Dielman, 23, quai du Commerce, 1080 Brussels (still) 1975; image: courtesy Janus Films

A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son—and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment; one that has been analyzed and argued over for decades.

This screening includes a special introduction by filmmaker Wayne Wang.



Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is Chantal Akerman’s masterpiece, a mesmerizing study of stasis and containment, time and domestic anxiety. Stretching its title character’s daily household routine in long, stark takes, Akerman’s film simultaneously allows viewers to experience the materiality of cinema, its literal duration, and gives concrete meaning to a woman’s work.”

Film Details

Country: Belgium/France
Language: French
Year: 1975
Running time: 201 min
Director: Chantal Akerman
Producers: Guy Cavagnac, Alain Dahan, Liliane de Kermadec, Corinne Jénart, Evelyne Paul, Paul Vecchiali
Writer: Chantal Akerman
Cinematographer: Babette Mangolte
Editor: Patricia Canino
With: Delphine Seyrig
Print Source: Janus Films


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Three Weekends of Modern Cinema

Join us for Modern Cinema, a new film series unfolding over three weekends in October—themes include films that haunt cinema, the spectral work of Thai filmmaker Apichatpong Weerasethakul, and tales of horror and the supernatural.