The playful screenplay includes dialogue which is often witty or droll and has amusing things to say about the human condition and celebrity. Between trips to the local hospital to procure vials of blood from a nervous medic (Jeffrey Wright, jumpy and droll), Adam ponders ending it all—to which end, he gets his clueless but devoted music-biz gofer Ian (Anton Yelchin, very funny) to procure him a custom-made bullet in a certain rare hardwood. 2014 saw the release of the highest-scoring new movie in Metacritic's... Film Friday (9/30): This Week's New Movie Trailers. Merci beaucoup :). Faust”—another character hopelessly addicted to learning). The domestic fortresses where they doze during daylight hours are bursting with rare books, objets d’art, collectible musical instruments, exotic fabrics, ancient electric gadgets and other relics culled from the many centuries they have existed amongst us lesser mortals. Like most of Jarmusch’s films, the emphasis is not on action but interaction—especially the verbal kind. There's nothing deep, subtle or thoughtful about it. Adam, a reclusive underground musician hiding out in the ruins of contemporary Detroit, despairs about human civilization’s decline, and worries about future survival. A couple of kooks hung up on romancing. A simple premise is backed up by a unique interpretation of modern day vampires. However, it is also wickedly smart, beautifully shot, filled to the brim with talent and full of cultural witticisms. Change ), You are commenting using your Facebook account. This is the most romantic movie made in decades; Jarmusch truly understands how love is expressed in its most pure form. Still, this is a great romantic film that serves more as a “day in the life” of vampires as they contemplate the imminent end of their own species and how misunderstood they are.
This study aims to read Jim Jarmusch’s movie Only Lovers Left Alive from the perspective of downfall of industrial capitalism and ecosocialist approach. The film is marked by a mood of exhaustion, an end-of-era fatigue that comes across as strangely heady in its world-weariness. Yes, the characters are very pale and old and romantic. Take Isaach de Bankolé’s immaculately suited, implacably distant nomadic operator in The Limits of Control (09) or Forest Whitaker’s character in Ghost Dog: The Way of the Samurai (99), whose singularity and composure came from the knowledge that, in keeping with Japanese warrior codes, he was “already dead.”. Swinton’s character is using an iPhone, Hiddleston’s is a bit more nostalgic, but still both live in modern homes, drive cars and know how to use technology. Music is a big theme in the film, actually bigger than it might appear on the surface. All it takes is curiosity, says a film seemingly about the ultimate elitists—but that ultimately is very anti-elitist. We can see them slowly coming out from the shadow of the building. though we are left to guess it has to do with Eve’s close ties to Christopher Marlowe.

The ending scene combines shots from two locations: inside of the building, where the vampires are sitting, and the outside patio, where the kissing couple appears.

April 9, 2014, One tries, when discussing Jim Jarmusch and his films, not to harp on the word “cool,” which has no doubt been more of an albatross for him than for most of his contemporaries.
With their other worldly features both Tom Hiddlestone and Tilda Swinton certainly have the right look and they deliver rich characterisations as the vampire lovers living in seperate dwellings in different countries.

There are also no religious aspects, but rather the absolute lack of religion in this film, which was certainly a deliberate choice of the director.

Eve, who is perhaps 3000 years old to Adam’s 500, takes a longer view of history and is more optimistic. In this essay I will discuss how Only Lovers Left Alive fits in with America’s most iconic indie director Jim Jarmusch and his body of work. Having lived for centuries they had time to study languages, read many books and visit a lot of different places. The sequence starts with establishing long shot. American Film Final Project. Another interesting artistic decision was not to show any sex scenes, but rather only shots of the couple laying in bed together. If you haven’t seen his newest film starring Tilda Swinton and Tom Hiddleston I suggest you check it out first and then come back. His characters are often cool in the sense of utterly unapproachable—occupying a transcendental realm of their own, beyond good and evil, certainly beyond the mundane and earthly. The casting is so perfectly done: lank-haired Hiddleston embodies Byronic languor, while Swinton—elegantly sauntering in palest robes, as if she’s just stepped off the Catwalk of the Ancients—exudes knowing mischief, wit, and erudition.