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Oh, how my inner cinephile regrets bringing up the 201-minute length of Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles so early in the discussion, it supports that dictum so well! The focus on gesture and rhythm and just this idea of labor and showing kind of the mundane—the cinema verite-style of approach I always responded to. Raging Bull is "an Othello for our times." Tomris Laffly is a freelance film writer and critic based in New York. I think all this talk, this gendered kind of system we've created, is really prohibiting women from [breaking in]. There are so many moments like that in the movie. We needed to sense his power over everyone. It still needs work. It is a fine balance to get that. I think in order to analyze why there aren’t more women in positions of power, you've got to look at why we're not getting our foot in the door in the first place. most overrated: Jeanne Dielman is at #98 on the TSPDT list and I can’t get behind it after one viewing. A lot of things in there are part things I've experienced, the little tiny things. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975/Belgium, France/Chantal Akerman) Three hours of potato peeling and passionless sex. Well they're there to protect the company, that's their job. LIKE its blunt title, Chantal Akerman's ''Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,'' deals in unadorned facts. I was shocked by that movie. I wanted to be near her, to thank her in some way for having given me the tools to discover myself and become an artist. I started directing weeks after seeing this movie, and I dedicated my second movie (which has 8 shots and lasts almost an hour and a half) to her. And would you be comfortable revealing who those people were? And, more to the point, who is behind the camera? More than 209 critics from 43 countries were asked to rank their top ten foreign-language films, which BBC then ranked accordingly. She was hurt. I heard rumors about this, but not too much. Having no allies—not co-workers, not HR, and definitely not her boss—and with a dream of becoming a producer one day, she dawdles in uncertainty. "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles" is a cult film with good actings and direction. I know what they're like," and sort of would riff on it and he did incredible things. She was a titan, a queen, she had helped invent modern cinema without anyone helping her, and here she was, so small and fragile in front of an audience who couldn’t do her the kindness of staying to the end of her talk. A woman, in her 60s, trying to learn how to date online, and having her heart broken when the object of her affection refuses to be open with her, to write back. I kept thinking about Chantal Akerman’s “Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles” a lot. Did you talk to any assistants who worked for some recognizable names in the industry? I feel like if the film was set today, she would have more avenues and pathways or she would have more support. I also love how you captured just tiny details about male behavior and entitlement, which is what’s really damaging on a day-to-day basis. Jeanne Dielman Jeanne Deilman, 23 Quai de Commerce, 1080 Bruxelles (Chantal Akerman, 1975) [10] Long known for being extremely hard to see and extremely long, Jeanne Dielman is nothing short of a minimalist masterpiece. I was doing this tour of different universities, and I went to Stanford and saw this amazing performance art troupe there that work with trauma. “The narrative is not really kind of a typical or dramatic narrative where you have beginning, middle, and end, and there was … She saw Jean-Luc Godard’s "Pierrot Le Fou" when she was 15, and it changed her life. I've never met Harvey Weinstein. There is no mistaking that voice—he really sounded like Harvey Weinstein. It was more about the ordinary than the extraordinary. She was creating a space for femininity, something still tenuous in art house cinema, to express itself—or at the very least realize that the space it in which it had been confined was not an inescapable one. “The results are full of experimental films,” Nicole Brenez pointed out in Facebook, and went on to cite as examples La jet é e, Histoire(s) du cin é ma, Jeanne Dielman, The Man with a Movie Camera, Sátántangó, “and of course the best sequence of 2001 and Vertigo‘s and Persona‘s special effects sequences.” It was, she picks up the call and it wasn't scripted what he would say. He was like, "I know these guys. Roger Ebert put it perfectly when he wrote about her relationship to the French New Wave in 2012: ... Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Chantal Akerman) Her breakthrough feature is three hours and twenty minutes long, consists of long tableaux of a woman, played by that beautiful wraith of the arthouse Delphine Seyreig, cooking, drinking, walking and making love with a series of men who are not her husband. After "Jeanne Dielman", she would make three more masterpieces before the decade was over. When did you start writing it? How did you design this production office space? She wasn’t angry. Garner is simply astonishing in steering her character’s fragility—she manages to maintain a stone cold professional face, while tears linger on her eyelashes with every subtle male dismissal and condescension. She went to her management office and watched how they answered the phones. ... and small and pokey. But ultimately, she learns the hard way that there's no easy way of taking on an ecosystem of enablers alone. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. It was a process in post where we brought in the actor and tried a bunch of things and he's great, Jay O. Sanders. So, it's a very different kind of film. I mean, I started working with people who worked with The Weinstein Company and Miramax, but I also spread out to other companies. It is sort of all of us in some way. Film critic Roger Ebert gave Winter’s Bone five stars in recognition of Debra Granik’s talent. Gossamer Aurore Clement plays an Akerman stand-in, a director on a lonely, nocturnal tour of major cities with her latest work. The way they were shut down or silenced every time [they] spoke up about injustice. At the end of "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles," there is finally a burst of action that changes every minute of the movie that precedes it. She became a familiar figure at festivals and was paid many tributes over the years. I've been in the industry for a while and it's the little things that really affect your self-confidence. She dropped out of film school after a short while (her fans would find it hard to imagine her sitting in class listening to someone else’s idea about how films should be made) and started shooting intense personal hybrids of fiction and non-fiction, frequently choosing herself as subject. At least twenty people walked out of her talk, each footfall louder than the last. Instead of looking at it top down, I was looking at it bottom up. I notice every time I told my friends, "Oh, he did this." It’s shot in high-contrast black and white. The whole iceberg is left. When I first discovered Akerman, I living in a cramped Boston apartment whose ceiling slanted ominously inward where the roof came to a point. And she did all this before her twenty-fifth birthday. I was talking to my producers and I decided I might do some research on college campuses and talk to kids about consent and power structures as a way to get into the topic. We got rid of Harvey Weinstein, but everything's not fixed. There had been experimental filmmakers before, and many of them had asked you to stare unblinking at ordinary things until you understood something new about what film could do to the human mind, but this was different. The next two were autobiographical inverses. The cameras seem to be set lower than usual (sorry, I don't know the terminology), the sound is all diegetic and it isn't persistent like the wind sounds in Turin Horse. It was a believable film office. The film treats female bodies like vessels that cannot hold all of the radiant female mind and its innumerable intricacies. Her love for her mother is in everything she did. Below is an interview with Green, which has been lightly edited for flow and clarity. Directed by Chantal Akerman. As so frequently happens with artists who are ahead of the game, the world didn’t really know what to do with her. I feel like the interesting thing is, when you talk about the film industry, people assume it's so glamorous. Is an artist not meant to relay secret truths that only they seem able to divine? I just put him so that we could sense his power and control. The … That was the first movie I watched maybe in my late teens or early twenties where I thought, "Wow, this is what a movie can be." There is one element that literally flickers in … In some ways, making the audience just as uncomfortable was kind of part of the goal, which doesn't sound that great. You know what it takes.” He sounded belittling. Then I read suddenly that the Weinstein scandal had broken open. According to critic Roger Ebert, the movie's uniquely twisted world-building helped make it the “first true horror film. But then I also spoke to people from agencies. Joining me impromptu following the final screening of her movie on Monday, writer/director Green (“Ukraine Is Not A Brothel,” “Casting JonBenet”) doesn’t exactly confirm that the boss figure is the disgraced film mogul. But I felt there was also an uneasy thriller-esque component to this movie. We rented an office building basically. I think it borders on the experimental line of where I divide what I like and study and what is in the Stan Brakhage/ maya deren space. The movie is nothing but a series of mundane details. Clement’s Anna is the flip side of steely Jeanne Dielman, a woman whose doubts escape through cracks in her expression. That was great. And guess who the boss in question is? That's it. Immortals Fenyx Rising Wants to Keep Gamers Busy Over the Holidays, The Godfather Coda: The Death of Michael Corleone. At that same movie’s New York press screening, I counted six walkouts. Akerman could find the raw essence of the female experience, but in "Les rendez-vous d'Anna," she showed that in reality, she still had to deal with the unceasing judgment of those who thought they could decide whether or not she was an artist. Instead, what she does focus on is the composite pain of countless assistants that she channeled through the lead character, played by Garner. She was very short, had serious, beautiful, sunken eyes, her voice was low and raspy and it flowed out of her like a thick current. She gave me the gift of cinema, led me to my voice. You can sit and experience every second of the work they’ve created, because they’re creating for you whether they know it or not. Akerman’s cinema was essentially humane, but filled with a potent and necessary rage. As with Orson Welles, as she experimented and got a better grip on her aesthetic identity, she was allowed to drift from the center of our attention. It sounds like I'm complaining or it sounds like nothing. When the show ended I went up to her and told her how much she meant to me, how her films had made me a director. We only hear music—this really heartbreaking tune—in the beginning when we see the New York City cityscape go by, and in the end. Yes and no. Where they're trying to step out at the same time, he slowly touches her shoulder. I don't buy this argument for a second: Ebert is judging everyone else by his own conservative standards, and it's supremely unimaginative. I miss her so much. I suddenly got on the phone and started texting a bunch of people. I heard so many crazy stories from people and I didn't really want to go there. You portray that system of silence so sharply in this movie. Scout Tafoya is a critic and filmmaker who writes for and edits the arts blog Apocalypse Now and directs both feature length and short films. To be honest, it all started because I had been in the film industry for 10 years and I had my fair share of bad experiences. I feel uncomfortable mentioning their names. I mean that voice is terrifying because it felt unmistakable to me. Jeanne Dielman creates drama solely within the type of material other films ignore. It was the first film she made after "Jeanne Dielman" and a refinement of that film’s ideas. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, more commonly known simply as Jeanne Dielman is a 1975 arthouse film by Belgian filmmaker Chantal Akerman. Chantal Akerman was forcing men to look at a woman who could have been any of their wives or mothers, for over three hours. I just wanted pieces of him so we could see that everyone was tense because of the power. Akerman’s velvety dolly shots place somnambulant Clement in an earth-toned dystopia she has no control over. Wang found inspiration for his own film in Ozu’s oeuvre and in Akerman’s 1975 drama Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles. I guess that's always been in the back of my mind. If someone came up to you saying, “It’s Jeanne Dielman, except God exists!”you’d be tempted to attach them to the nearest jukebox and throw it in the East River. The film is a series of mostly static takes that force you to confront not just the content of the image, but the context, the very idea of a moving image itself. Stacker presents the 100 greatest foreign-language films of all time, as of Oct. 30, 2018. If, as Roger Ebert famously wrote, ... — *Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles; Les Rendez-Vous d’Anna The late Chantal Akerman was an iconic feminist filmmaker and Jeanne Dielman, her rigorous 3-hour film about housework and sex work, is her incendiary masterpiece. A lot of people are still working [with their bosses] right now. I started interviewing everybody, but I've found the focus to be more interesting at the assistant level and the entry-level jobs. The first is "Je, Tu, Il, Elle," on which more in a moment. But we just found a really great actor. Is film not a visual medium? I have a lot of friends in the film industry. It's about the looks and sounds of … Three films made by artist and director Chantal Akerman also appeared in the round-up, with Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles placing third behind Varda’s Cléo from 5 to 7. That's Jeanne Dielman in a nutshell, but what Akerman does is so radical I'd take this painstakingly slow feature over the usual freneticism and symbolic overload of experimental cinema any day. It is this idea that I wanted to have a sense that it could be anyone, in any workplace. ... "Roger Ebert … Jeanne Dielman, 23 quai du Commerce,1080 Bruxelles seems more akin to Roman Polansky’s Repulsion or Todd Haynes’ Safe, where we watch a descent into isolation and madness than a sympathetic depiction of the plight of the housewife. Akerman films herself like the subject of a Gustave Courbet painting, resplendent curves and pale flesh intersecting the harsh dark interiors in which she’s trapped. But I still don't think that anything has changed. I was terrified listening to it. We did a lot of just roleplay and playing around to figure out who she is and what she wants and her aspirations. When you want nothing more than to be a better version of yourself, and someone suddenly hands you the ability to do that, you feel an exuberant debt of gratitude, one you can’t wait to repay. I think she goes in thinking he's on her side and quickly, she figures out that he's not, which is terrifying. I was kind of angry and I didn't know what to do with that anger. Surely Chantal Akerman had earned her audience. I was really concentrating on the microaggressions and [little looks and gestures] that can really wound you. I was in film school and just wanted to direct, but all I had proved able to do was drink coffee and watch movies, and none of my instructors seemed in a hurry to let me make features on their time. That was the movie that made me want to make movies. "News from Home" is a trance-like documentary that features Akerman reading letters from her mother over footage of her adopted home - New York City. Ebert's argument conceives of society and culture - and the capabilities of the human mind itself - as static: reached out to and engaged with only by an act of emotional button-pressing. Perfectly calibrated and increasingly mournful, “The Assistant” is perhaps the first expressly #MeToo narrative feature that elucidates why the movement's arrival was way overdue, as well as one of the most important world premieres to grace this year’s Telluride Film Festival. I think #MeToo would have arrived much sooner if people looked at things from bottom up. There is, unfortunately or not, a continuity to these events. I love your visual approach to telling this story. But I [imagined] he also sounds like a lot of bosses, that guy. How did you make that voice happen? I arrived back in New York and shifted focus to just interviewing friends. She made a documentary on the celebrated dancer Pina Bausch in the 80s, and a few very charming mainstream comedies with "A Couch in New York" and "Tomorrow We Move," but you wouldn’t know that from a cursory glance at her reputation. But I really wanted to try and demonstrate that for an audience, and try and get them to emotionally understand how hurtful some of those tiny actions are. Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles 1975 ★★★½ Watched 29 Sep, 2020. For that, look to "Les rendez-vous d'Anna." Curators failed to keep her legacy in the air between films. I wanted to focus on things that were relatable. This was her gift. ... Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) "News from Home" is a trance-like documentary that features Akerman reading letters from her mother over footage of her adopted home - New York City. It posits that the story of a woman who is detached and alone from the world is just as important as a big, epic, sweeping fantasy. Jeanne Dielman puts the chores front and center, with nothing else to distract you. That’s what drew me to her memoir reading that night in 2013. I spoke to other people from studios, and then I kind of moved into different [places]. ... Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975) Then we had an amazing production design team who gave it that kind of look. Akerman changed the way an audience relates to moving pictures by asking every member to consider what they would expect from a film. That was the first movie I watched maybe in my late teens or early twenties where I thought, "Wow, this is what a movie can be." When her 2011 film "Almayer’s Folly" (a staggering movie) took a year to make it to a rather negligible art house run, I wondered if she’d done something to make taste-makers mad. He would just ad lib a little and he's been in the industry forever. There are also all these fake movie posters around. With Delphine Seyrig, Jan Decorte, Henri Storck, Jacques Doniol-Valcroze. And I guess when you don't name him, it could be anybody and that’s a much bigger idea. In the case of a tie, the film with more overall votes ranked higher on … I still feel like this is going on all over the world in different workplaces. To be honest, it wasn't in the script. I feel like it is all part of this such toxic culture we've created. She was just herself, and being Chantal Akerman meant asking the world to reckon with its false identities and overcome a relentlessly awful history. The story she told was of unbearable melancholy. A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. I was shocked by that movie. Your lead actress is often pitched in the middle of the screen, doing these mundane tasks. I watched it on my toes. And I don’t believe there was a more honest or daring filmmaker of the last 50 years. What do we value from the experience of sitting in the dark and communing with 35mm film running through a projector? At the Locarno film festival, her latest film "No Home Movie," was booed. But Matthew [Macfadyen] was the sweetest. 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. 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