Laeticia THISSEN

Senior Policy Analyst on Gender Equality

by Chantal Akerman
Belgium/France,1975

Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is a masterpiece of minimalist cinema that uses its form to deliver a profound critique of patriarchy and its effects on women’s lives. Released in 1975, the film remains as relevant as ever in illuminating the political dimensions of domestic labour, the invisibility of women’s experiences, and the constraints imposed by societal expectations.

Akerman’s film follows Jeanne, a widowed mother, over the course of three days as she performs her routine household chores with mechanical precision. The narrative meticulously captures the mundanity of her life: peeling potatoes, scrubbing bathtubs and preparing meals. At first glance, these repetitive actions appear benign. However, as the days progress and Jeanne’s routine begins to unravel, the film exposes the psychological toll of the oppressive roles women are often forced to embody.

The feminist issues in Jeanne Dielman are deeply intertwined with the film’s depiction of unpaid domestic labour as a site of systemic oppression. By dedicating three hours and twenty minutes to these activities, Akerman transforms what society deems insignificant into a political act. Jeanne’s life is structured entirely around serving others – a reality that reflects the patriarchal relegation of women to the private sphere. Her sideline as a sex worker to support herself adds another layer of commentary on how women’s labour, both domestic and sexual, is commodified and undervalued.

Akerman’s use of the female gaze is a central element of the film’s power. Unlike mainstream cinema, which often objectifies women through a voyeuristic male lens, Jeanne Dielman observes its protagonist with quiet respect and unflinching detail. The static, unintrusive camera forces the viewer to engage with Jeanne’s perspective and experience her growing disquiet. By doing this, Akerman challenges cinematic conventions and reclaims agency for her subject, positioning her as the centre of her own narrative.

The political dimension of the film lies in its ability to reveal the violence embedded in the banal. Jeanne’s eventual breakdown – a shocking act of rebellion against her stifling existence – becomes a statement against the systemic dehumanisation of women. It underscores how societal structures, rather than overt acts, perpetuate oppression.

In Jeanne Dielman, Akerman not only redefined feminist filmmaking but also exposed the radical potential of cinema to interrogate power and reclaim silenced voices. The film remains a touchstone for understanding the intersection of politics, gender and the art of storytelling.