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Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles - Criterion Collection [CRI-Criterion]
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Laserzone Preis
CHF 39.90
Artikel: 1600843
Movie: 15137959
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Regionencode [?]
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1 - USA
(NTSC)
Benötigt Codefree-Player zum Abspielen!
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Originaltitel
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Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles
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Genre
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Drama
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Produktionsland
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Belgien
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Herstellungsjahr
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1975
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Schauspieler
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Delphine Seyrig, Jan Decorte, Henri Storck, Chantal Akerman
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Regie
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Chantal Akerman
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Autor(en)
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Chantal Akerman
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Produzent(en)
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Corinne Jénart, Evelyne Paul
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Sprache (Tonformat)
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Französisch (Dolby Digital - 1.0 Mono)
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Untertitel
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Englisch
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Covertext
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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.
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Bildformat
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1.66:1 Aufbereitet für 16:9 Bildschirme
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Laufzeit
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201 Minuten
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Veröffentlichung
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25.08.2009
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Special Features
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- Restored digital transfer, supervised and approved by director Chantal Akerman
- 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 Akerman and cinematographer Babette Mangolte
- 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
- Archival television interview excerpt featuring Akerman and star Delphine Seyrig
- Saute ma ville (1968), Akerman’s first film, with an introduction by the director
- New and improved English subtitle translation
- PLUS: A booklet featuring an essay by film scholar Ivone Margulies
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