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Chantal Akerman is generally considered a feminist cineast by the commentators of her work, especially regarding her 1976 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. This film perfectly fits into the cognitive orientation of the women’s movement of the second wave in politicizing domestic work. I argue in this article that the feminist point of view of the author is graspable in two cinematic dispositives used throughout her work: firstly, the way she forces us to look at the banal generally devalued, and secondly, the autoethnographic component of her cinema affirming the fluidity of the subject and a situated point of view. Chantal Akerman is precursor of a practice theorized since the 1980s as a consequence of the « Crisis of representation », consisting in shifting the focus from to Other to the self.