A riveting if underrated postmodernist tale by Jarmusch about the multiplicities and intersections of cultures new and old, starring an excellent Forest Whitaker as a hip-hop listening African-American hitman deeply influenced by the ancient mythos of the Japanese samurai.
An essential early work of Jarmusch, this is a cinematic hymn to Memphis city’s rich musical history, filmed as a connecting triptych of oddball characters of various nationalities over the course of one day and night in this ‘ghost town’.
A stylish revisionist anti-Western masterpiece by Jim Jarmusch that is both surreal, spiritual and poetic, backed by a stunning improvised ‘live’ score by Neil Young.
Continue reading →Five uneven vignettes shot in different cities centering on conversations between cab drivers and passengers—this is Jarmusch in easy-going mode as he captures the pathos of human connection.
Continue reading →This ‘anti-vampire’ movie sees Jarmusch bring his idiosyncratic style to the well-worn genre in refreshing and poetic ways.
Continue reading →It is occasionally funny, but it grows weary—and possibly pointless—after a while.
Continue reading →Jarmusch’s first feature is at best a time capsule of New York City in the late ‘70s, and at worst, an aimless and meandering borefest.
Continue reading →One of the key works of American independent cinema from the ‘80s, with Jarmusch presenting a beguiling tale of three loners who may or may not need each other’s company.
Continue reading →Jarmusch’s understated film about a bus-driving poet is both a charming and tranquil experience.
Continue reading →Jim Jarmusch’s third feature is difficult to pigeonhole, in what is a stylishly shot piece that works as an offbeat if poetic comedy.
Eternality Tan 