Je, tu, il, elle

tbh I found a lot of this boring as literal poop, but parts were brilliantly perceptive and conceptually fascinating. By simple technical deviations [viz. the extreme long takes], Akerman tears to bits the mystified rules of cinematic language, to reveal the formal arbitrariness [or artificiality, maybe] of male gaze/ideology. The scene with the truck driver was unbelievably uncomfortable to sit through, which is a good thing. I have never seen anything quite like this.

The way she violently spoons the sugar is cringe-worthy.

Akerman plays with and breaks the habits of "male gaze" while forcing the audience to gain an awareness of their conditioned ways of watching a film through long exhausting shots. although it's a daring film especially with its last scene, it doesn't offer something special.

First act is me on a good day honestly

perfectly captures what it's like to be gay

Akerman's methods are antithetical: whereas most filmmakers are manipulators of time, she suspends it. This film is particularly detached and alienating. Difficult, but worthy of consideration.

One of those raw, trying arthouse films which require a lot of patience. While it occasionally feels like Akerman's long static shots of nothing much happening are creating some kind of unique and ethereal mood, or capturing her own personal zeitgeist, there's little reward to be found within the loose narrative and it's all too easy easy to dismiss the whole thing as, well, a bunch of static shots of not much happening. At least it's short. Look out for a young Niels Arestrup.

Sorry, but no. Actively and aggressively boring, this is the kind of film that makes it difficult to recommend more serious films to people who don't usually go for them. They usually imagine something like this. This is the third Akerman movie I have tried now and I feel like I'm being punked by the level of love for her films in some quarters. An interesting movie could be made about this character, but while Akerman has technical skill, she bores me to tears.

A good entrant into the #covidcanon

Viewed June 2, 2020.

Holy shit!

no thanks.

In Jeanne Dielman, one can become frustrated the ultra-long takes of "nothing happening" but it's absolutely essential they be that way. Here they feel terribly unnecessary. It's a shame that she felt the need to hammer the viewer with tedious indulgences, because the general structure is very interesting, and I particularly liked how the narration in the first part would occasionally contradict what you see onscreen. Too bad the film is such a chore to get through.