Eszkimo asszony fazik

{\"title\":\"Eskimo Woman Is Cold\",\"tagline\":null,\"overview\":\"Essentially a title card with an actress narrating an explanation of the title, Eskimo Woman Is Cold makes an extension of the implications of the main artistic element of Chantal Akerman\u2019s Jeanne Dielman, 23 Commerce Quay, 1080 Brussels. That film\u2018s stationary camera presented a tableau of a woman\u2019s daily routine in a manner that implied psychological frustration. Eskimo Woman Is Cold shares this characteristic, as a trio of women sit next to one another next to a window, and the only point of variation in the frame comes from the shifting of their heads.\n\nThe main difference is that there is no interior psychology given to the Eskimo women. Instead Akerman leaves them as enigmatic figures as the ice from which they take their names. Only once they begin to speak do they become more human, as the townspeople explain their perceived isolation as a commentary on their consumer habits. The Eskimo women\u2019s presence is seen as antisocial and inappropriate, since they resist the regular flow of the economy. Through these scenes Akerman continues to explore women\u2019s oppression in society, and points to the harshness of those who step out of line.\n\nPremiering at the international film festival in Mannheim, Germany, Eskimo Woman Is Cold was barely released in the thirty odd years after its production. However, this very brief, under 11 minute film, is still the subject of analysis and exploration in the realm of feminist film theory.\"}