Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Enjoyable and sympathetic film. Murder, like all things, is rather pedestrian.

The film challenges conventional narrative by focusing on what is usually omitted: the everyday. Ellipses, which commonly exclude trivial details, become the semantic pillar here. Through the meticulous portrayal of Jeanne's daily routines, the film penetrates her inner world, making emotions appear almost palpable. Although not in a material sense, something pulses with an intensity that evokes the sensation of authentic life. This meticulous attention to everyday details, with its almost documentary character, not only facilitates a deeper and more genuine connection with Jeanne Dielman, a widow whose seemingly monotonous and orderly life gradually reveals cracks in her mental facade, but it also avoids becoming redundant. However, contrary to what many media outlets assert, it is far from being the best film, as its innovation is more stylistic than practical. Its extremely detailed approach and slow pace are not comparable in impact, practical utility, or legacy of influence to the revolutionary innovations of other cinematic masterpieces.