If Laura Mulvey is the queen of feminist film theory, Chantal Akerman is its messiah figure: the one to make its theories compelling and cinematic and accessible and powerful and hot rather than cold and counter cinematic. The importance of Mulvey’s films is in their complete dismissal of a misogynist film form in an attempt to create a specifically female gaze, as in her unwatchable masterpiece Riddles of the Sphinx, but in the same year, Akerman took it a step further with Jeanne Dielman. In the film, made when she was just 25, Akerman co-opted the cinematic techniques of the Hollywood gaze and manipulated them to serve a female narrative, and ended up making one of the most important works in the European Cinema.
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