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    Je Tu Il Elle (1974)

    Je Tu Il Elle (1974)

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    Movie

    'Je' is a girl voluntarily lock up in a room. 'Tu' is the script. 'Il' is a lorry driver. 'Elle' is...

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Jennifer Reeder recommended Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) in Movies (curated)

 
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)
1975 | Drama
(0 Ratings)
Movie Favorite

"In this masterpiece from our dearly departed Chantal Akerman, there is so much pathos in the pacing alone. The deep tensions in the film, which concern sex and violence and domesticity and motherhood, unfold with a sense of unrelenting inertia. Jeanne Dielman epitomizes my favorite kind of person in film and in real life—the unruly woman."

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Karim Ainouz recommended News from Home (1977) in Movies (curated)

 
News from Home (1977)
News from Home (1977)
1977 |
(0 Ratings)
Movie Favorite

"I actually first discovered a lot of the films on this list, like News from Home, when I lived in New York, next to Kim’s Video, a time when I went a lot to Anthology Film Archives and Lincoln Center. Chantal Akerman has always been a big inspiration for me, and News from Home was the first film of hers that I saw. Watching it was so inspiring and made me feel like I could make movies myself, because it’s so simply done yet so affecting—just letters and an empty city. I have a very strong relationship with my mother, and she also used to send me letters when I lived in New York. I discovered Jeanne Dielman later, and a lot of the screen tests I did for Invisible Life were taken from frames from that film."

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40x40

Jenni Olson recommended Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) in Movies (curated)

 
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)
1975 | Drama
(0 Ratings)
Movie Favorite

"As of this writing, it’s been nearly a year since we lost the talent and spirit of Chantal Akerman. Her 1975 breakthrough feature wowed the international film world after premiering at Cannes to a combination of raves and an audience exodus. Truly a film to return to again and again, Jeanne Dielman expands the possibilities of cinema as an art form. Its durational, physiological impact on the viewer is an absolute revelation. I first saw it on a crappy 16 mm print in college in the late 1980s and didn’t get to see it again on the big screen until the late ’90s—on 35 mm at the San Francisco LGBT Film Festival. Now I like to watch it in segments on Hulu (sort of the opposite of binge-watching) just for the shift in consciousness it induces in me after each twenty-minute chunk. Transcendent."

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