The Untamed Territory of Jim Jarmusch’s “Dead Man”
Jim Jarmusch’s black and white punk Western is both his most beautiful & most baffling film.
Jim Jarmusch’s black and white punk Western is both his most beautiful & most baffling film.
Jim Jarmusch’s around the world anthology is a flawed but ambitious look at the odd moments that bind us.
Jim Jarmusch’s atmospheric ode to Elvis and the fleetingness of time holds up more than 30 years later as one of his best works.
We look back at Jim Jarmusch’s film debut and the way its sense of experimentation ripples through the rest of his career.
We ring in 2020 by celebrating the birthday of independent cinema’s rockabilly godfather.
A rare misfire in his filmography, Jim Jarmusch’s horror-comedy is an inconsistent mess that’s neither scary or funny.
Jim Jarmusch’s most gentle, sentimental film finds the lyrical beauty in an everyday working class life.
Part deadpan comedy, part drama, and part neo-noir, Jim Jarmusch’s 2005 indie remains one of his most textured—and one of his most approachable.
Time, ease, and the thrill of Americana rain down on Jim Jarmusch’s most intriguing early work, about a group of three escaped convicts.
Jim Jarmusch’s laidback anthology of fateful celebrity meetings lays bare the communal value of commodity.
Ghost Dog: Way of the Samurai sees Jim Jarmusch integrating hip-hop atmosphere with samurai genre trappings to create a dorm-room favorite.
Shudder presents a wild Irish tale of bloodsuckers and brawling mayhem.
A quirky documentary series starring an indie Renaissance man might be just the thing to get you through these troubling times.
Joel Schumacher’s sleazy, sweaty neo-noir of porn and pain remains a bizarre artifact for the director’s filmography, and it hasn’t lost its bite.
Jonathan Demme’s sleazy but interesting feature debut tried to put a new spin on the women in prison genre.
Though its glacial pacing & elliptical dialogue challenges the audience, Jarmusch’s 2009 crime thriller is its own fascinating beast.
A look at how a sparsely plotted, low budget comedy changed the face of indie arthouse cinema.
From HBO (Chernobyl, Watchmen, Succession) to Netflix (Russian Doll, The Crown, Stranger Things) and beyond, we break down the best TV of the year.
A quarter of a century later, Reality Bites offers a frustratingly incomplete portrait of the MTV generation.
Gena Radcliffe and Beau North dig into a dozen gruesome, bloody tales of love and horror this Valentine’s Day.
This piece was originally posted on Alcohollywood The 54th Chicago International Film Festival is more than just an amped-up pledge drive for Cinema/Chicago – it’s a huge showcase for some of the biggest, most interesting films of the year, foreign or domestic. It’s always a treat to cover – I spent two years as a … CIFF 2018 Dispatch, Part 1 (Feat. Interview w/Felix van Groeningen)