If there is a space where you know where everything is even with your eyes closed, that space is likely to be the kitchen for the housewife. However, when a familiar space suddenly becomes unfamiliar - unhomely - the daily life is shown to have many layers of meaning. JEANNE DIELMAN is a film that deals with the political-economy of personal space that can also be called women´s space a space that is considered so familiar that it appears to have no representational value. If this is the case, how about a woman, a mother of a child, who uses the house that she fastidiously cleans every day for prostitution? Even though she is aware that it is something that cannot co-exist with her housework, it nevertheless begins to make her realize the prostitution nature of the institution of marriage. As a result, Jeanne Dielman starts making small mistakes. But it is not until a murder takes places in her home that she stops doing the household and relaxes. Using a minimalist style, Chantal Akerman uses the four ordinary days in the life of Jeanne Dielman (also the name of Akerman´s mother) to portray these ideas. When this film was made in the mid-70s, feminist films were directly portraying women´s lives as victims. The film that commemorates the emergence of Chantal Akerman as an avant-garde feminist filmmaker is precisely this film - JEANNE DIELMAN.
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(54999)22, Jeonjugaeksa 3-gil, Wansan-gu, Jeonju-si, Jeollabuk-do, Republic of Korea