"Anchored by Gena Rowland’s titanic performance, the Cassavetes opus was a watershed film for me. When her character waits for her kids at the bus stop I started crying and couldn’t stop. One of the movies’ greatest portrayals of the complexities of being female and interesting in a man’s world. Jeanne Dielman is the ultimate punk-rock statement in cinema. It’s feminist, female, utterly subversive—and clocking in at three hours and twenty-one minutes, it plants a flag of absolute confidence. It is a masterpiece of the first order, every shot purposeful, every moment freighted with intent. Akerman was twenty-five when she made the film, and she redefined our limited notions of a cinematic wunderkind. If anyone wants to argue with me about this, I’m happy to rumble."

"Anchored by Gena Rowland’s titanic performance, the Cassavetes opus was a watershed film for me. When her character waits for her kids at the bus stop I started crying and couldn’t stop. One of the movies’ greatest portrayals of the complexities of being female and interesting in a man’s world. Jeanne Dielman is the ultimate punk-rock statement in cinema. It’s feminist, female, utterly subversive—and clocking in at three hours and twenty-one minutes, it plants a flag of absolute confidence. It is a masterpiece of the first order, every shot purposeful, every moment freighted with intent. Akerman was twenty-five when she made the film, and she redefined our limited notions of a cinematic wunderkind. If anyone wants to argue with me about this, I’m happy to rumble."