Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles is a 1975 film directed by Belgian filmmaker Chantal Akerman. The movie revolves around the domestic life of Jeanne Dielman, a widowed mother who lives in Brussels with her teenage son. The film unfolds over three days, during which Jeanne's seemingly monotonous daily routine takes a sinister turn.

The movie depicts the mundane everyday life of Jeanne. The opening of the film sets the tone for the rest of the movie, as it shows Jeanne cleaning her home in a meticulous manner. The camera lingers on each action, such as lighting matches, peeling potatoes, and scrubbing pans, in real-time, emphasizing a sense of monotony that permeates throughout the movie. We watch Jeanne complete her daily tasks, which include cooking, cleaning, and sex work, all in a precise and calculated manner. Her routine changes only slightly when she entertains a client, who visits her apartment for a two-hour session.

Despite the film's slow pace and limited plot, it manages to create a sense of trainwreck-style tension as we observe Jeanne's carefully constructed life come unraveled. She is shown to be a lonely and isolated figure, with few social interactions outside of her son and the occasional client. Her controlled routines are overturned when she begins to forget small details of her daily routine, such as leaving a pot on the stove for too long, or dropping a fork while serving dinner.

Akerman uses visuals to convey the mundanity of Jeanne's life. The camera's static shots are positioned at a distance from the action, which creates a sense of detachment and objectivity that underscores the stifling atmosphere within the apartment. The pastel colors of the mise-en-scène only add to the lifelessness of Jeanne's existence, contrasting with the lush colors that would be associated with vitality.

The film only gets darker as the days progress, with the audience becoming more acutely aware of the cracks in Jeanne's façade. We see hints of desperation when she is running late for a client's appointment and becomes frazzled. We watch in fear as she makes small mistakes, such as overcooking a meal or losing her temper with the cat, revealing hidden depths to her character that we might not have suspected earlier.

As the time comes to a close, Jeanne's routine spirals, culminating in a shocking and sudden final act. The experience of becoming invested in this character and her small, repetitive existence makes the last ten minutes of the film feel like a gut punch.

The film is anchored by a stunning performance from Delphine Seyrig as Jeanne. Though Seyrig's character is a loner who shies away from emotional expression, she ultimately manages to convey every excruciating emotion that Jeanne feels through her carefully restrained facial expressions and body language.

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles is not for everyone. The slow pace, paucity of plot and emphasis on visual repetition will undoubtedly be tedious for some. However, for those willing to engage with the movie's rhythms, the experience is ultimately rewarding. The film is a hypnotic and disturbing exploration of routine, power, and control - a masterpiece of minimalist cinema that continues to influence the art form to this day.