Jim Jarmusch
This week, we take a look at the recent Blu-Ray releases of Godard’s Le Petit Soldat (1963), Jarmusch’ The Limits of Control (2009) and Haynes’ Dark Waters (2019).
The Dead Don’t Die was a huge disappointment with too many plotlines and characters for both the dead and undead to handle.
Gus Edgar & Alistair Ryder report from Cannes, with reviews of The Dead Don’t Die, Deerskin, Les Miserables, Bull and A Brother’s Love.
In The Dead Don’t Die, the peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.
Salamis Aysegul Sentug examines a trilogy of movies that not only embrace the art of night but also celebrate it as a field of creative space where artists and writers venture out.
Paterson is informed by the rich tradition of American poetry and modelled as a gentle meditation on the minutiae of artistic life.
A man named Paterson living in a town called Paterson seems quaint, like a small oddity you brush by on a road trip. It’s certainly not something you stop for, but then writer/director Jim Jarmusch rarely stops for the obvious thing. Many of Jarmusch’s films, which are considered exemplary of the American independent scene, ignore traditional plot structures, but Paterson seems to be taking things to a tranquil extreme.
Over at our official Facebook page , we are currently posting daily Film Recommendations, with each week being a different theme. This is a collection of those recommendations! This week’s theme is Portmanteau Films (otherwise known as Anthology Films), films usually compiled of different shorts/segments normally linked up by a connecting narrative.
Who doesn’t love a good Western? The wide-open, lawless expanse of the mythical West is the perfect backdrop for stories of heroism, betrayal, and windswept romance. Perhaps more than any other film, a Western is made of symbols:
Last weekend I attended a screening of Jim Jarmusch’s latest production, Only Lovers Left Alive, at the Luna Leederville Cinema here in Perth (which, by the way, is a beautiful original 20’s art deco cinema). While I’ve only seen two of Jim Jarmusch’s movies (Coffee and Cigarettes and Dead Man), Only Lovers Left Alive has Jarmusch’s distinctly recognizable style: it’s dark, pretty, it’s gritty, and very witty (how’s that for rhyming?
