This article is a look at the film Jeanne Dielman, 23 Commerce Quay, 1080 Brussels, directed by Chantal Akerman, from the perspective of Jolanta Brach-Czaina’s philosophical reflections. The main axis of considerations is focused on the juxtaposition of the poetics of cinematic modernism and the way of presenting everyday life in the film with the notion of “busyness” proposed by the philosopher. This article offers an analysis of the film by the Belgian director and the basic ideas presented in the collection of essays Szczeliny istnienia [The Cracks in Existence]. Consequently, the possibility of a metaphysical view of the film is revealed, as well as an interesting ideological dialogue between Akerman and Brach-Czaina.