When Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, by then only 25 year old director Chantal Akerman, was first presented in North America it was as a single showing at MoMA. The film remained relatively mysterious though never forgotten, frequently appearing on critics' lists while seldom showing in cinemas. Thankfully, 35mm prints have been immaculately restored and are now touring across the continent. Pacific Cinematheque begins its run of the film tonight—presented also on Friday and Monday—and to celebrate is offering opening night patrons free samples of Pinot Noir!

One of the most ingenious films of the 1970s and a seminal work in the feminist canon, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is a near ethnographic portrait of the title character. A prostitute who lives with her son, with whom she rarely speaks, Dielman's life is constructed around a cycle of routines that involve cooking, cleaning, buying groceries, and sex—even her johns keep regularly scheduled appointments. The film takes place over the course of three days, each day a duplication of the last. But though events are repeated, each turn is charged with different emotions, becoming more and more unsettling as time passes.

This rigorously constructed film contains no close ups, no reciprocal shots and almost no music. It contains nothing to give the narrative a pleasurable sense of conventional dramatics. It offers only life, real life starkly shot in wide tableaux, a troublingly recognizable, raw life in all of its horrific tedium. If that sounds dull, well, it is and it isn't. At a runtime of 3.5 hours I admit that this film is for serious cinema lovers only, however anyone willing to tolerate the length will be gratified. Jeanne Dielman slowly destabalizes into deep malaise, subverting women's films into a horrorshow that ends with a shocking, though appropriate, act of violence.

While watching I couldn't help but think about my own mother, who works but still cared singlehandedly for our household. Jeanne Dielman is certainly a brilliant comment on the constrained role of women during the days of 2nd Wave Feminism, but it holds resonance for contemporary men and women alike. The idea of life's monotony, bereft of meaning, and lack of agency is something that is disturbingly pertinent in any age and for any gender. Heavy stuff, so maybe it's a good thing there is wine at this screening.

Tonight's show is part of a new, periodical Pacific Cinémathèque event called Cinebar, where they offer wine samples derived from the same region as the film. The next Cinebar screening takes place on April 9th to compliment a screening of Fellini's La Dolce Vita. It's a pretty solid idea to try and attract audiences, and I'm obviously going to take any opportunities to drink free that I can get.

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
Pacific Cinémathèque
1131 Howe Street
Opens Tonight (March 26) at 7:30pm
Tickets: $9.50 for adults/$8 for students