I interviewed about 100 people. most overrated: Jeanne Dielman is at #98 on the TSPDT list and I can’t get behind it after one viewing. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. And guess who the boss in question is? 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. 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. I both experienced and witnessed misconduct. I've never met Harvey Weinstein. Akerman’s cinema was essentially humane, but filled with a potent and necessary rage. ... "Roger Ebert … 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. ... Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975) 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. Clement’s Anna is the flip side of steely Jeanne Dielman, a woman whose doubts escape through cracks in her expression. He was like, "I know these guys. I feel like the interesting thing is, when you talk about the film industry, people assume it's so glamorous. Akerman’s velvety dolly shots place somnambulant Clement in an earth-toned dystopia she has no control over. However, something happens that changes her safe routine. That line makes me cringe still and I've seen it thousands of times. 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. Opportunities, chances to prove her worth in front of appreciative crowds of intellectuals, come to look like a never-ending walk towards a firing squad. 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. 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. And I guess when you don't name him, it could be anybody and that’s a much bigger idea. Stacker presents the 100 greatest foreign-language films of all time, as of Oct. 30, 2018. I spoke to other people from studios, and then I kind of moved into different [places]. I just put him so that we could sense his power and control. Immortals Fenyx Rising Wants to Keep Gamers Busy Over the Holidays, The Godfather Coda: The Death of Michael Corleone. 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. Her love for her mother is in everything she did. "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles" is a cult film with good actings and direction. But for someone who changed the DNA of art films forever, she isn’t taught in film or feminist theory classes (or anyway, I took both in two different colleges and didn’t hear her name once). I kind of was trying to find a way to analyze this whole situation as it was unfolding in the press. The Female Gaze: Essential Movies Made by Women: Women in Film & Cinema, Women Filmmakers, Feminism and Film: Amazon.ca: Malone, Alicia: Books I hate that. In some ways, making the audience just as uncomfortable was kind of part of the goal, which doesn't sound that great. The HR scene, when doors get closed on her face, was too painful to watch. Is an artist not meant to relay secret truths that only they seem able to divine? So, it's a very different kind of film. In the midst of all the buzz around big titles like “Marriage Story” and “Ford v Ferrari,” it’s sometimes easy to sleep on some of Telluride’s more modestly scoped offerings. But when that person is Keith Uhlich of Time Out and you imagine him looking like this and you realize he’s referring to … Curators failed to keep her legacy in the air between films. And she did all this before her twenty-fifth birthday. "Je, Tu, Il, Elle" showed me that a camera and a body could produce truths that eluded artists with ten times Akerman's resources. Oh wow, that's great. We rented an office building basically. I mean, I started working with people who worked with The Weinstein Company and Miramax, but I also spread out to other companies. I heard rumors about this, but not too much. It terrified me, by the way. That was the movie that made me want to make movies. For those of us who needed her, Akerman kept the world spinning on its axis, even though she hadn’t had what you’d call a "hit" since the 1970s. She was Akerman’s first role model and her window into the beauty and warmth of womanhood. She understood the character, and who she thought the character was. And I don’t believe there was a more honest or daring filmmaker of the last 50 years. 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) I think she goes in thinking he's on her side and quickly, she figures out that he's not, which is terrifying. And, more to the point, who is behind the camera? 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. I guess that's always been in the back of my mind. I miss her so much. It does affect your ability to do your job well. If you’re angry or upset that nothing is happening, ask why you believe that something should? Then the crazy thing is, after the Weinstein story broke, we all realized that there's a big ecosystem of enablers. It is this idea that I wanted to have a sense that it could be anyone, in any workplace. That kind of toxicity, it trickles down from the top. We got rid of Harvey Weinstein, but everything's not fixed. It sounds like I'm complaining or it sounds like nothing. Instead of looking at it top down, I was looking at it bottom up. For instance, when she cuts her finger, you do feel something bigger might happen. 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. Chantal Akerman was born in Brussels to a mother who had survived Auschwitz (this great woman was the subject of many of her best work, including "No Home Movie"). Film critic Roger Ebert gave Winter’s Bone five stars in recognition of Debra Granik’s talent. 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. 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. In the case of a tie, the film with more overall votes ranked higher on … With the future of her newly starting career at risk, what can she do, if not move on like everything is normal and write humiliating apology emails? I was kind of angry and I didn't know what to do with that anger. I think #MeToo would have arrived much sooner if people looked at things from bottom up. Then I read suddenly that the Weinstein scandal had broken open. The most extreme and best-known incarnation of her cinema of the everyday remains her second feature, “Jeanne Dielman, 23 Quai du Commerce, … There is, unfortunately or not, a continuity to these events. I was shocked by that movie. 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." 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. 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. The next two were autobiographical inverses. 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. I've experienced all sorts of different things. I decided to talk to friends about what we can do. We just found a building in New York City and shot in it. 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. Jeanne Dielman creates drama solely within the type of material other films ignore. This was her gift. Yeah, and she’s not named either. It gives a window into Akerman’s lifelong inherited anxiety, and the ways in which her work was a tribute to the woman who so cared for her, who sent her money to help support her young daughter, making art she probably didn’t understand. Finally she looked to the last of the rude escapees, some 30 minutes into her talk, and said “Don’t make noise.”. It was, she picks up the call and it wasn't scripted what he would say. We brought in people who worked as assistants in various companies and Julia spoke to them. “The narrative is not really kind of a typical or dramatic narrative where you have beginning, middle, and end, and there was … Her role is to do the administrative duties for assistants. "No good movie is too long," Roger Ebert once wrote, "and no bad movie is short enough." Green ended up making a career out of the film, following it with gems like "Pineapple Express," "All The Real Girls" and "Joe." The … It’s tragic in a way that Akerman’s art turned so many people away from her, but then…the best and most honest art will always confuse and upset those who aren’t ready for it. But we just found a really great actor. I suddenly got on the phone and started texting a bunch of people. The story she told was of unbearable melancholy. 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. 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. She's one of them. 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. That's it. I've been in the industry for a while and it's the little things that really affect your self-confidence. OK, let’s talk about the unnamed and unseen boss. The first is "Je, Tu, Il, Elle," on which more in a moment. I wanted to focus on things that were relatable. I am wondering what you want people to take away and do after they watch this movie? She saw Jean-Luc Godard’s "Pierrot Le Fou" when she was 15, and it changed her life. I have a lot of friends in the film industry. More than 209 critics from 43 countries were asked to rank their top ten foreign-language films, which BBC then ranked accordingly. “The Female Gaze, written by the ebullient film journalist Alicia Malone, is an unabashed love letter to our cinema sisters. 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. 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. There is no mistaking that voice—he really sounded like Harvey Weinstein. I don't know what he sounds like. You portray that system of silence so sharply in this movie. The way the men were being promoted and they weren't. It was more about the ordinary than the extraordinary. The whole iceberg is left. I think all this talk, this gendered kind of system we've created, is really prohibiting women from [breaking in]. Exactly, I agree. She moved to New York in the early 1970s and produced "Hotel Monterey," a silent rumination on the corridors of the rundown building and the people who passed through it. I feel like if the film was set today, she would have more avenues and pathways or she would have more support. 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. Instead, what she does focus on is the composite pain of countless assistants that she channeled through the lead character, played by Garner. Honestly, Ebert said it best. I don't know, the industry is a mess. A member of the New York Film Critics Circle (NYFCC), she regularly contributes to RogerEbert.com, Variety and Time Out New York, with bylines in Filmmaker Magazine, Film Journal International, Vulture, The Playlist and The Wrap, among other outlets. 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. 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. There are so many moments like that in the movie. It still needs work. She poured cold water on the male gaze. Akerman changed the way an audience relates to moving pictures by asking every member to consider what they would expect from a film. 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. You could hear it in the way she dragged out the last vowels. I was hearing similar stories from everybody. She wasn’t angry. This is a pre-#MeToo story. Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles 1975 ★★★½ Watched 29 Sep, 2020. 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. ... and small and pokey. Gossamer Aurore Clement plays an Akerman stand-in, a director on a lonely, nocturnal tour of major cities with her latest work. It’s fitting, if sad, that her final film would be about her final months with her ailing mother. She was just herself, and being Chantal Akerman meant asking the world to reckon with its false identities and overcome a relentlessly awful history. I kept thinking about Chantal Akerman’s “Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles” a lot. I notice every time I told my friends, "Oh, he did this." And then I watched a grimy pirated copy of "Je, Tu, Il, Elle" in my frigid little room and it was like someone took off a blindfold I’d been wearing all my life. 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. A lot of it is about showing the kind of reality of working in those office spaces and what it's like to be the youngest woman on the desk of this predator. 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. For that, look to "Les rendez-vous d'Anna." I mean that voice is terrifying because it felt unmistakable to me. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Akerman, Belgium) Chantal Akerman created the ultimate feminist film with this intimate epic, a formally exact and deliberately repetitive masterwork, about three days in the life of a single Belgian mother and part-time prostitute. This year, that unforeseen breakthrough is Kitty Green’s “The Assistant.” Following a single day in the life of a high-powered film executive’s female, entry-level assistant (Julia Garner), Green’s thriller-esque drama operates in the pre-#MeToo world, as its unnamed, first-in, last-out Northwestern graduate goes through numerous mundane tasks in a soulless office, while slowly noticing her boss’s toxic, predatory behavior. ... Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) For instance, this one scene in the elevator, it sticks with you. Directed by Chantal Akerman. I sat there and listened to every word while people all around me walked away. 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. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is not likely to be a film to leap to one's lips when suggesting French films to neophytes for fear of losing a friend forever. Well they're there to protect the company, that's their job. It was one of the great formalist gambits of the 1970s, and it felt like the first time a woman was filming what it felt like to be a woman. I'm pretty sure he wasn't that comfortable saying it, but he was great. 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. I started interviewing everybody, but I've found the focus to be more interesting at the assistant level and the entry-level jobs. It was the first film she made after "Jeanne Dielman" and a refinement of that film’s ideas. I love your visual approach to telling this story. But it would be a shame to leave this notoriously short film festival without falling in love with at least one small and true discovery. But I felt there was also an uneasy thriller-esque component to this movie. The way they were shut down or silenced every time [they] spoke up about injustice. But I still don't think that anything has changed. It's about the looks and sounds of … The agony of being in thrall to a male society that had only so many spaces allotted for you to discover yourself. To be honest, it wasn't in the script. What do we value from the experience of sitting in the dark and communing with 35mm film running through a projector? LIKE its blunt title, Chantal Akerman's ''Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,'' deals in unadorned facts. It is sort of all of us in some way. 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. 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 really concentrating on the microaggressions and [little looks and gestures] that can really wound you. You don’t ever see him, but apart from the predatory behavior on a name-checked casting couch, the clues—a deep voice, multiple homes in the city, messiness with food the assistant has to clean up—leave little room for doubt that it’s Harvey Weinstein. Is film not a visual medium? I kept thinking about Chantal Akerman’s “Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles” a lot. He would just ad lib a little and he's been in the industry forever. There is one element that literally flickers in … After "Jeanne Dielman", she would make three more masterpieces before the decade was over. I suppose in the end that’s all you can do for your heroes. The movie is nothing but a series of mundane details. 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. 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." But then I also spoke to people from agencies. "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. You feel as if you understand each other. That was kind of common to all of that. With fascinating histories painstakingly unearthed by Malone this book is a treasure of delights that honors more than a hundred years of female filmmaking. 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. She never made a bad movie. But Matthew [Macfadyen] was the sweetest. I wanted to reflect that a little bit, but still have a sense of how powerful these people are. Tomris Laffly is a freelance film writer and critic based in New York. When did you start writing it? To reckon with female identity and existence, that it is intrinsically, starkly different from the male, and that so much of modern female life is a miasmic routine. I feel like it is all part of this such toxic culture we've created. 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. Then we had an amazing production design team who gave it that kind of look. But ultimately, she learns the hard way that there's no easy way of taking on an ecosystem of enablers alone. But it wasn't like the assistant had a lot of face-to-face time with him. She gave me the gift of cinema, led me to my voice. I know what they're like," and sort of would riff on it and he did incredible things. She went to her management office and watched how they answered the phones. A lot of things in there are part things I've experienced, the little tiny things. I heard so many crazy stories from people and I didn't really want to go there. As so frequently happens with artists who are ahead of the game, the world didn’t really know what to do with her. 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. Jeanne Dielman puts the chores front and center, with nothing else to distract you. You’re scoreless the rest of the time. Akerman is the film’s star, and she plays a woman who sits in her tiny room, goes out for a dalliance with a trucker and returns to make love to an old girlfriend. I don't buy this argument for a second: Ebert is judging everyone else by his own conservative standards, and it's supremely unimaginative. As soon as we met her, she understood the script, which was great. At least twenty people walked out of her talk, each footfall louder than the last. Her loss is a hole in my heart. Below is an interview with Green, which has been lightly edited for flow and clarity. And would you be comfortable revealing who those people were? I arrived back in New York and shifted focus to just interviewing friends. With Delphine Seyrig, Jan Decorte, Henri Storck, Jacques Doniol-Valcroze. 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