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 (Delphine Seyrig)—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.
Autour de “Jeanne Dielman,” a 69-minute documentary—shot by actor Sami Frey and edited by Agnes Ravez and Akerman—made during the filming of Jeanne Dielman
New interviews with Chantal Akerman and cinematographer Babette Mongolte
Excerpt from “Chantal Akerman par Chantal Akerman,” a 1997 episode of the French television program Cinéma de notre temps
Interview with Akerman’s mother, Natalia Akerman
Archival television interview excerpt featuring Chantal Akerman and star Delphine Seyrig
Saute ma ville (1968), Akerman’s first film, with an introduction by the director
A booklet featuring an essay by film scholar Ivone Margulies