484, 1203 Chantal Akerman Masterpieces, 1968–1978

Discuss releases by Criterion and the films on them. Threads may contain spoilers!
Post Reply
Message
Author
User avatar
Brian C
I hate to be That Pedantic Guy but...
Joined: Wed Sep 16, 2009 11:58 am
Location: Chicago, IL

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#176 Post by Brian C » Sat Jul 31, 2010 11:35 pm

dad1153 wrote:The first 20 minutes were sheer torture as Ackerman's mise-en-scène became clear; I just didn't know if I could take three more hours of THIS.
I saw it theatrically for the first time last year, and I went in mostly cold, knowing that it was about 3.5 hours long, but with only a vague idea of what the movie was about and no experience with Akerman at all. In retrospect, I'm surprised that I didn't experience this at all over the first twenty minutes, or indeed throughout the movie. In fact, it's hard to say how shocked I was when the movie ended, and I realized that 200 minutes had passed - I honestly thought there should be an hour or so left! I've never sat through a three hour movie that messed up my internal clock in that way. Usually, of course, it works the other way around.

User avatar
colinr0380
Joined: Mon Nov 08, 2004 4:30 pm
Location: Chapel-en-le-Frith, Derbyshire, UK

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#177 Post by colinr0380 » Sun Aug 01, 2010 1:12 pm

dad1153 wrote:By the third day I was literally thinking of the million different ways the mounting cracks in Jeanne's routines could doom her. Leaving the window open in her bedroom? Shoot, a burglar might climb through it and kill her. She left the cover off the vase where she keeps her money? Shit, Sylvain is going to find out what she does!
That sort of sounds like it would turn into Catherine Breillat's Fat Girl!
Anyone else notice that in this movie nobody has actual one-on-one conversations with anybody? Just monologues or lines of dialogue that bounce from whoever is "listening." They might be related (and look like many a mother-son relationship in the real world that Akerman observed growing up) but the Dielmans might as well be strangers living under the same roof. The closest to an actual conversation in the movie is the neighbor that drops her baby at Jeanne's on the second day. Even then we're deprived of even the most basic visual info of who Jeanne is talking to, which tells us everything we need to know about what value Jeanne places on this arrangement.
I liked that too - every interaction seems to take the form of a kind of formalised transaction, usually to do with money for services (or just the need for money, or the need for the service), not just the prostitution. And each transaction has its own codes of polite behaviour.

Perhaps that is what makes the struggle with the mechanical post machine on the third day (after performing the actions face to face on the second when the post office is open) quite interesting for the suggestion that this fallible, prone to breakdown, human element might one day be phased out completely, and it could one day just be machines exchanging money between themselves to produce a facsimile of a functioning society, just without the human needs (sex, family, food, communication through letters, shopping) to motivate them.

User avatar
Jun-Dai
監督
Joined: Thu Nov 04, 2004 4:34 am
Location: London, UK
Contact:

Re: Eclipse Series 19: Chantal Akerman in the 70s

#178 Post by Jun-Dai » Mon Mar 14, 2011 10:06 pm

Did anyone notice a striking similarity between the DVD menu image of Je tu il elle and Love Affair from the previous set?

j99
Joined: Wed May 27, 2009 10:18 am

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#179 Post by j99 » Tue Sep 04, 2012 3:27 pm

colinr0380 wrote:Spoilers:

I suppose that first off I should say that I thought it was extremely amusing and rather apt that these were the first static menu screens that I can remember there being on a Criterion disc for a good few years!
Without quoting all your post colinr, you've written an excellent précis on the previous page. Would still like to know where Jeanne and her son went after supper though!

User avatar
movielocke
Joined: Fri Jan 18, 2008 12:44 am

Re: Eclipse Series 19: Chantal Akerman in the 70s

#180 Post by movielocke » Fri Feb 27, 2015 8:08 pm

When you go through art school or film school, you often come across student work that struggles with the form of the short film, often the critical mistake of a student is assuming that short film is just a shorter version of a feature film. But this is like saying that photography is just a faster version of painting.

La Chambre is basically a perfect short film. Eschewing narrative, Akerman manages to make you reflect upon and critique yourself and examine how you've been programmed with genre and narrative conventions and expectations. As the camera repeated itself, each repetition brought a new array of expectations, whether it was expecting a horror jolt or a comic disruption, the methodical continuity, repetition and gradual focusing variations plays upon the viewer's anticipations and in denying them, caused this viewer to reflect upon the nature of archetypes and 'scripts' that the viewer is imposing perhaps often in spite of the actual film itself. And by the end of the film, you realize how the absence of sound has become a rather brilliant use of sound--in the way that a painter might aggressively use negative space--and structurally this negative-aural-space underpins the entire success of the piece. It's a brilliant examination of form, and an absolutely essential short film.

User avatar
movielocke
Joined: Fri Jan 18, 2008 12:44 am

Re: Eclipse Series 19: Chantal Akerman in the 70s

#181 Post by movielocke » Tue Mar 03, 2015 6:34 pm

For about 45 minutes of Hotel Monterey I was riveted, I felt like the film flew by, the way Brakhage films often do. It's an almost meditative experience, your mind isn't wandering, necessarily but it's creating fabulous associations and interesting reactions to the silent images my brain relentlessly labeled ominous and foreboding. The film feels steeped in horror iconography without ever doing anything to promote the horror, it left me with an exhilerating cognitive dissonance the whole film.

Then, like a sugar crash following a high, my attention began to waver, sleep began to assault my consciousness with an insistent forcefulness and exactly at this moment, Akerman changes it up and begins moving the camera down hallways. This has the timing and effect so that it kicks the viewer out of any soporific somnolence and makes one pay attention again. While the film's conceit may be aggravating to the vast majority of audiences (who really want nothing to do with experimental film as a rule), Akerman shows she has a mastery over audience nontheless. The film left me feeling as though my spectatorship had been critiqued, and had probably been found wanting. The act of looking itself becomes what the film is, I think; and in disrupting the conventions of looking, you get the sense that Akerman is looking back at us.

User avatar
movielocke
Joined: Fri Jan 18, 2008 12:44 am

Re: Eclipse Series 19: Chantal Akerman in the 70s

#182 Post by movielocke » Mon Mar 09, 2015 9:15 pm

Je tu il elle is a pretty phenomenal film, you see the filmmaker taking the forms and function of her earlier work and synthesize it in unexpected ways to make one of the finest filmic expressions of alienation I've seen.

the film opens on a woman, alone and isolated. Based on the narration she's withdrawing and going through depression as her alienation deepens. it seems she has just gone through a breakup and is dealing with the emotional trauma she's experiencing in her own deeply internal way. She writes her lost love a letter. Then writes a longer one. and so on. It feels all too familiar to one person I knew in college, who did the same.

In the film's second movement, she leaves her room, but becomes no less isolated. She hitchhikes to wherever it is she is going, and spends long silences with the trucker who picks her up. The trucker is the first person to speak on camera, and to complete her dissociation from his company, she never speaks to him on camera, only internally narrates some of her thoughts on him. This companion clearly does not provide any companionship, and while she is constantly looking at him, he is as distant from her as though he were a fictional character on the unseen tv they watch while they eat.

Then, in the third movement, she arrives at an apartment. A woman's apartment. she is told she' can't stay, but then is given food and then is allowed to stay the night. Though narration is not provided, we presume this is the person that broke her heart prior to the first movement. They sleep together, and their sex is frank and familiar. For the era it feels shocking--bold and declarative, the film chooses not to eschew or demur or evasively hint at their relationship. Just as the film unflinchingly declared the bleak realities of her depression, it unflinchingly shows their (what I presume to be) breakup sex. Take from the scene what you will. I found it poignant, possessing the same distant sense encompassing the rest of the film, but it is also different, closer, she is more vulnerable here, with someone she has learned to trust. And ultimately she leaves on her own terms.

User avatar
zedz
Joined: Sun Nov 07, 2004 7:24 pm

Re: Eclipse Series 19: Chantal Akerman in the 70s

#183 Post by zedz » Mon Mar 09, 2015 10:59 pm

I love Je tu il elle. I first saw it at a Feminist Film Festival in around 1990 that included lots of great, challenging works (old standbys such as Riddle of the Sphinx, Film About a Woman Who. . . etc.), and this was by far the most divisive film they screened. The small room started out with 50 or more people in it and ended up with six. I found Akerman's quiet concentration mesmerizing: I'd never seen a narrative film quite this minimal before and it left a deep impression. When I saw it again much later, I was shocked by how funny and lively some of it was (the first section in particular).

User avatar
movielocke
Joined: Fri Jan 18, 2008 12:44 am

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#184 Post by movielocke » Wed Mar 18, 2015 6:35 pm

Jeanne Dielman is a film I never really expected to watch at home. The film is so long that I had mentally filed it away as something I doubted I would get to, I just never have a four hour stretch to dedicate to a film home viewing, most nights I can't get in more than an hour of even a short ninety minute film.

Then I watched her first three films from the eclipse set and knew that this was an unmissable artist, someone I already loved and I also had to watch it now, really wanted to watch it.

So, over the course of five or six nights I managed to watch the entire masterpiece (as I'm still never going to find time for a four hour film at home) over Hulu. That's far less than ideal, as this clearly needs to be seen on film on a big screen with an audience, but at least I got to see it.

I should say that I knew from reading about the film (back before it was available) that
SpoilerShow
Jeanne has her first orgasm and immediately kills the john.


And the film is pretty near perfect, an amazing, mesmerizing experience. Akerman takes the small accretion of details and builds them into a rhythm and ritual that is all her own.
SpoilerShow
I think Jeanne had her first orgasm on the second day, because after sex that day, her routine begins to unravel in very tiny trickling ways that build upon one another and eventually cascade into the famous avalanche at the end of the film. Even without the murder, there is something tragic in her orgasm, it's a brilliant piece of acting because it is as if her body is betraying her, as though her orgasm is something "other" to herself. How can she enjoy something unconsciously that consciously she (presumably) does not? How can she resolve the cognitive dissonance?

Back to the second day, by the next morning, she's completely off her game, everything is out of sorts, each wrong timing just makes the next event more off. She even makes coffee to merely pass the time, not even drinking any. then she orders coffee for the same reason, and again doesn't drink any. And by the end of the film, she has to reassert her control over her life, as she does in her dramatic, metaphorical manner.

User avatar
djproject
Joined: Sat Oct 09, 2010 3:41 pm
Location: Framingham, MA
Contact:

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#185 Post by djproject » Thu Mar 19, 2015 7:38 am

A few additional thoughts ...

1) I am not terribly worried about how the Blu-ray would be handled. After all, The Thin Red Line was a nearly three hour film, not a super high video bitrate but it's the only title to be given a straight ten review here =]. It's all matter of how you compress it to make everything fit (compressing the supplements could also help a bit). Or it could just be a two-disc affair a la Seven Samurai or (heaven forbid) Heaven's Gate.

2)
SpoilerShow
I can understand how her "first orgasm" was what created the snowball effect that led to the murder at the very end. But at the same time, I suspect there was a lot more going on internally than what the film has shown. There was very likely other issues that resulted in the explosion ... and the explosion ... of emotions that we were never privileged to see for an assortment of reasons. The most obvious one is that she seem to suppress those emotions into her day-to-day routine. After all, it is a common practice to "overwork" yourself as a coping mechanism or a means of escaping unpleasant thoughts or sentiments. In other words, I don't think it took three days to murder someone. Call me not being a "cinema literal creationist" =D
3) In a way, the film is its own experiment with time as it utilizes something akin to real time but still operates more or less in cinema time. After all, it's only three hours, not three days ;).

User avatar
movielocke
Joined: Fri Jan 18, 2008 12:44 am

Re: Eclipse Series 19: Chantal Akerman in the 70s

#186 Post by movielocke » Tue Apr 07, 2015 1:58 am

zedz wrote:
Mon Mar 09, 2015 10:59 pm
I love Je tu il elle. I first saw it at a Feminist Film Festival in around 1990 that included lots of great, challenging works (old standbys such as Riddle of the Sphinx, Film About a Woman Who. . . etc.), and this was by far the most divisive film they screened. The small room started out with 50 or more people in it and ended up with six. I found Akerman's quiet concentration mesmerizing: I'd never seen a narrative film quite this minimal before and it left a deep impression. When I saw it again much later, I was shocked by how funny and lively some of it was (the first section in particular).
You're absolutely right, the humor was one of the best aspects of film, a sort of sardonic self deprecation that was tremendously refreshing and perfectly pitched to the tone and content of the film. So much of the opening scene of the post-breakup depression was bleakly funny, and the humor is similarly peppered throughout, even in the finale sex scene. 

I'm glad that I watched News from Home after Jeanne Dielman and Je tu il elle. The film certainly belongs stylistically with Hotel Monterey and Le Chambre.  The film's unseen protagonist reads us her mother's letters, and after watching Jeanne Dielman, one cannot but help but feel as though she is the one writing the letters, even if it's not a very good match, given the letter she writes to her sister in Canada.  The film uses the visual strategy of Hotel Monterey for its first half, opting for still shots of an empty or mostly empty New York city often at dawn and dusk or deep in the bowels of subway stations. Then, at presumably the point at which the narrator decides to return home the film begins to move, literally, the city begins to fill up and the camera rides through the streets of new york or on a subway, or watches subway trains arrive and depart.

In an interesting editing choice, in the aforementioned subway arrivals and departures, Dielman cuts out the handful of frames of their entrance and exit.  So you hear the train approaching, then there is an imperceptible cut, and then the train is rushing by as it slows to a stop, then you see the train depart and it rushes by, but before you can see the tail of the train wipe-reveal the other side of the platform there's another imperceptible cut and the exit of the train is removed. I imagine some of this was for editorial expediency, it allowed her to "cut" unbroken takes to choose the arriving or departing people that most interested her, for whatever reason, but there's also a nice psychological effect as well because it's subtly disruptive and disconcerting without being obvious, a slight sense of it being slightly wrong.  and I think we're meant to take that impression from the scene, the dislocation that ultimately causes the unseen reader to return home.

and she apparently does, as the final shot of the film is an extremely long and beautiful take of riding a boat out of New York City, it's elegant and brilliant. 

User avatar
movielocke
Joined: Fri Jan 18, 2008 12:44 am

Re: Eclipse Series 19: Chantal Akerman in the 70s

#187 Post by movielocke » Tue Apr 07, 2015 2:44 pm

Les Rendez-vous d'Anna is more akin to Jeanne Dielman than any of the other films in the eclipse set, it continues that film's combination of experimental film and documentary narrative. The film is excellent but in its maturity it is more interesting than exciting (in the way that je tu il elle was exciting). The film recalls her earlier films, and initially I wondered if this was more of a narrative reworking of Hotel Monterey; but after about a half hour of Anna, the main character, being depressed in her hotel ala Jeanne Dielman, the narrative begins to unfold. The film's title quickly becomes clear from this point on, as the next hour unfolds as a series of rendez-vous with a trio of characters who talk to Anna, and she mainly listens.
SpoilerShow
First, we have the local who loves her films, and is somewhat in love with her, he pours out his life story to her, but she moves on to the next town on her list. There she meets an old friend at the train platform and listens to her tales. Then she arrives back at her home town and meets her mother and stays the night with her--interestingly she strips naked to sleep with her mother and Anna this time has the monologue, as she details a recent tryst with a woman. I doubt there's ever been such an... oedipal... coming out scene between mother and daughter in cinema, it's magnificently bold and startling, even today.

Following this confession of the change in her life that has apparently left her in the state she was at the beginning of the film (pining for her lover), she returns to her big city home and her husband/lover, and we see the sequence of events that lead to their breakup, but first she must get him some tylenol for his headache--you see he couldn't perform in bed because of the headache (riiiiight). Finally, she returns home to her empty apartment, and in a wonderful closing moment we listen to all the messages on her answering machine, ending the film with an ambiguous message from the mysterious recent lover.
The film is richly detailed, and I imagine it really rewards repeat viewings as there are probably embedded elements of the first hour that only really gain their full resonance and power when you've seen the entire film and know where it's going. Was her lover trying to call her as well, meeting the same frustration and blockaded lines that Anna met? It's almost a visualization of missed connections.

User avatar
Rayon Vert
Green is the Rayest Color
Joined: Wed Jan 08, 2014 10:52 pm
Location: Canada
Contact:

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#188 Post by Rayon Vert » Sat Oct 03, 2015 11:42 am

There is a glaring mistake in the Criterion booklet. The screenplay ("writer" credit) is attributed to Danae Maroulacou. Maroulacou was the script supervisor for the film, Chantal wrote the screenplay. The folks at Criterion at the time obviously mistook the French screen credit "scripte" (which means script supervisor) for "script/screenplay".

Btw, I'm currently reading Ivone Margulies' Nothing Happens: Chantal Akerman's Hyperrealist Everyday, very informative and rewarding if you want to get the most out of this film and the Chantal in the 70s Eclipse set. (Chapters 3 and 5 are devoted to Jeanne Dielman, chapter 4 to Je tu il elle, the other 70s films are also covered.)

User avatar
hearthesilence
Joined: Fri Mar 04, 2005 4:22 am
Location: NYC

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#189 Post by hearthesilence » Sat Oct 03, 2015 11:59 am

Heads up, a restored version of this film is set to play at MoMA in the coming month or so as part of their annual film restoration festival. No schedule or details yet though.


User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#191 Post by mfunk9786 » Tue Oct 06, 2015 10:45 am

This is addressed in the Passages thread.

User avatar
Luke M
Joined: Thu Jul 12, 2007 9:21 pm

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#192 Post by Luke M » Tue Oct 06, 2015 12:42 pm

mfunk9786 wrote:This is addressed in the Passages thread.
My mistake. I searched for Akerman's filmmaker thread and didn't find one. Forgot about the passages thread.

User avatar
hearthesilence
Joined: Fri Mar 04, 2005 4:22 am
Location: NYC

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#193 Post by hearthesilence » Sun Nov 15, 2015 10:37 am

MoMA screened a new restoration of this last night and it looked superb. It didn't have the ultra-crispness of a 4k restoration - possible it was a 2k DCP? Regardless, the colors and contrast looked great - spot on and balanced - and the print didn't seem to have any defects or damage. The only thing that stood out was a hair in the gate that popped up at the bottom of the screen - it was during a static shot of Dielman sitting alone in the living room the left of the screen, sometime after things had already begun to unravel. They probably didn't have the budget, but they could've easily fixed it (albeit probably for the cost of a brand new car) - it's a very long static shot, and it would've involved digitally cloning those exact spots prior to the hair and then overlapping them on top of the frames with the hair. It only would've involved the unmoving furniture in the room and would've been untraceable.

Nicola Mazzanti, director of the Cinémathèque Royale de Belgique, mentioned that prior to Akerman's death, they had already been working on restoring all of her work. (I think he mentioned that No Home Movie and one other had been screened at a prior restoration festival?) This included tracking down the best materials all across Europe, and it sounded like this was an issue for virtually all of her films. So there will be more restorations of her work in the future, and today they will be screening Je tu il elle.

User avatar
hearthesilence
Joined: Fri Mar 04, 2005 4:22 am
Location: NYC

Re: Eclipse Series 19: Chantal Akerman in the 70s

#194 Post by hearthesilence » Fri Jan 15, 2016 10:37 pm

movielocke wrote:
Tue Apr 07, 2015 2:44 pm
Les Rendez-vous d'Anna is more akin to Jeanne Dielman than any of the other films in the eclipse set, it continues that film's combination of experimental film and documentary narrative. The film is excellent but in its maturity it is more interesting than exciting (in the way that je tu il elle was exciting). The film recalls her earlier films, and initially I wondered if this was more of a narrative reworking of Hotel Monterey; but after about a half hour of Anna, the main character, being depressed in her hotel ala Jeanne Dielman, the narrative begins to unfold. The film's title quickly becomes clear from this point on, as the next hour unfolds as a series of rendez-vous with a trio of characters who talk to Anna, and she mainly listens.
SpoilerShow
First, we have the local who loves her films, and is somewhat in love with her, he pours out his life story to her, but she moves on to the next town on her list. There she meets an old friend at the train platform and listens to her tales. Then she arrives back at her home town and meets her mother and stays the night with her--interestingly she strips naked to sleep with her mother and Anna this time has the monologue, as she details a recent tryst with a woman. I doubt there's ever been such an... oedipal... coming out scene between mother and daughter in cinema, it's magnificently bold and startling, even today.

Following this confession of the change in her life that has apparently left her in the state she was at the beginning of the film (pining for her lover), she returns to her big city home and her husband/lover, and we see the sequence of events that lead to their breakup, but first she must get him some tylenol for his headache--you see he couldn't perform in bed because of the headache (riiiiight). Finally, she returns home to her empty apartment, and in a wonderful closing moment we listen to all the messages on her answering machine, ending the film with an ambiguous message from the mysterious recent lover.
The film is richly detailed, and I imagine it really rewards repeat viewings as there are probably embedded elements of the first hour that only really gain their full resonance and power when you've seen the entire film and know where it's going. Was her lover trying to call her as well, meeting the same frustration and blockaded lines that Anna met? It's almost a visualization of missed connections.
Just watched this again, and around 16:33 an advert bearing the unmistakable cover for David Bowie's Low whizzes by. So sad how both of these artists are now gone within months of each other.

User avatar
Roscoe
Joined: Fri Nov 14, 2014 3:40 pm
Location: NYC

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#195 Post by Roscoe » Mon Apr 04, 2016 10:47 am

I saw Jeanne Dielman the other day in the new restoration and was very impressed. I went in knowing next to nothing about what actually happens in the film, and am very glad that was the case. I have one question that I'm hoping someone with more knowledge of the film can answer -- I don't think this qualifies as a spoiler, but let me know if I'm wrong:
SpoilerShow
Twice in the film Jeanne and her son leave their apartment at night. It wasn't clear to me why they went, the exterior shots were so dark that I couldn't make out much of anything. It seems to be a regularly scheduled thing, as an alarm goes off to remind Jeanne to put her knitting away. On the second night, however, Sylvain asks to skip it, as they had such a late dinner, but Jeanne says they must go. Do they just go for a walk, or did I miss something, or is it just something that we'll never be clear on?

User avatar
Luke M
Joined: Thu Jul 12, 2007 9:21 pm

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#196 Post by Luke M » Wed Feb 15, 2017 6:49 pm

Upgrade coming!

User avatar
tenia
Ask Me About My Bassoon
Joined: Wed Apr 29, 2009 11:13 am

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#197 Post by tenia » Wed Feb 15, 2017 7:09 pm

I suppose it's too much to ask Criterion to add a freaking 2nd BD for the extras when the main movie is already 201 min long. #-o

User avatar
Never Cursed
Such is life on board the Redoutable
Joined: Sun Aug 14, 2016 12:22 am

Re: 484 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

#198 Post by Never Cursed » Thu Feb 16, 2017 12:07 am

They might change it. The Boyhood BD was originally announced as one disc, then quietly changed to two, and that film's forty minutes shorter.

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 484 Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

#199 Post by FrauBlucher » Fri Apr 14, 2017 4:47 pm


User avatar
cdnchris
Site Admin
Joined: Tue Nov 02, 2004 2:45 pm
Location: Washington
Contact:

Re: 484 Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

#200 Post by cdnchris » Fri Apr 28, 2017 9:13 pm

I haven't opened it yet, but just looking in through the top... unless they're hiding a disc under the other one this is only 1 disc.

Post Reply