A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along...
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Two innocent people are arrested. An interesting third person, with broken English, joins them in their cell. On his idea, they decide to escape from the prison. Their journey is the rest of the movie.
As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers.
This shortcut repeats the structure of Coffee and Cigarettes. This time, Iggy Pop and Tom Waits meet in a bar. But, again, we don't know why they agreed to do that in the first place, ... See full summary »
In a vignette called "Strange to meet you," Roberto sits at a small table in a coffee bar. Five cups of coffee and two ashtrays are in front of him; he drinks and smokes. Steven joins him. ... See full summary »
A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along with a friend, they eventually end up visiting their aunt in the wastelands of Cleveland and then proceed to Florida where they lose all their money gambling before unwittingly gaining a fortune. Written by
J.Arnold Free <firstname.lastname@example.org> and Brian McInnis
In the scene where Willie and Eddie pick up Eva from the Hot Dog stand, director Jim Jarmusch can be seen eating a hot dog while wearing a beanie in the background. See more »
In the last cut, shot inside the vehicle on the way to Cleveland, camera on Willie, the vehicle they are riding in is no longer the 1965 Dodge Coronet, but a Ford Econoline van. See more »
[speaks indistinctly in Hungarian]
Oh, hello, Aunt Lotte.
[replies indistinctly in Hungarian throughout conversation]
Don't speak to me in Hungarian, please. No, I haven't heard from him, not for ten years. Yeah, I got your letter. Speak English, please! Yeah, my little cousin Eva. Yeah, I know, she's come - coming here and she's gonna stay overnight, when's she coming? Today? Straight from Budapest today? Ah, no. No, I never agreed to that. I can't possibly babysit for her for...
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Watched for the second time the other night, and was struck how formal this really is. Every scene is a single take, some static, some with very stylized camera movement (static shot up the street to an approaching car; pick up car and track it as it passes, static again as it drives off). Occasionally an actor wanders off screen to the right, despite the camera trying to keep up; just this slight effect, surrounded as it is by so much silence and stillness, is enough to produce a slight frisson of tension. Blackouts separate the scenes, but either ambient sound or music cues continue as transitions during the cuts.
The main characters' costumes underline their alienation from the world around them. Judging from the props & surroundings, film seems to be set in contemporary (early-1980s) time. Willie and Eddie dress and act like late-Fifties/early-Sixties racetrack touts, and they seem most at ease in the retro living room of Aunt Lotte, who presumably left Hungary during that period. Eva's costumes likewise proclaim 'outsider,' though the dreary black she wears can signify either a refugee from East Europe or a jaded bohemian poseur.
First viewing a number of years back, I thought the film was offhanded and casual, with not much going on. A second viewing changed my mind - the absolute minimalism of the plot and dialogue leave plenty of space to explore Jarmusch's technique, composition, etc. It made me laugh out loud a couple of times, too.
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