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by Sean Axmaker

Contributor

The View Beyond Parallax… more reads for the week of Friday, December 23

The new issue of cléo arrives, with a focus on firsts. The theme is treated variously by the contributors, from Erin Delaney’s appreciation of the assault on heteronormality in the Wachowski’s Bound, particularly in contrast with other lesbian-themed noirs of the period (“While Basic Instinct is preoccupied by the fear that sexual performance may indeed be just a performance, Bound ultimately finds a profound power in Violet’s ability to deceive men both socially and sexually”); Clara Miranda Scherffig’s placing of Heaven Knows What (based on the writings of its first-time actor Arielle Holmes) in the tradition of The Panic in Needle Park and Christiane F. (“In casting actual drug users and soliciting their input, the Safdies were able create a narrative that conveys the attractions of drug use and street life—since getting sober, Holmes has spoken about missing “the adventure” of living on the street[iv]—without romanticizing addiction and homelessness”); a look at the one-take Uruguayan horror film La Casa Muda and its American remake Silent House by Nadya Sarah Domingo (“As Laura’s terror and confusion intensifies, the camera seldom breaks from her perspective, and the viewer sees the events of the night through her experience as a survivor of abuse and other unforgivably violent acts. The single take here is intimate and uncomfortably so.”); and a roundtable on women’s sports movies (“I think the thing that is really striking about movies that feature women in sports is that the women are always “not like other girls.” […] [I love these] movies, but I hate how our heroine is defined by the fact that she hates traditionally “feminine” things.”).

“Weber doesn’t lavish a lot of close-ups on Pavlova, preferring instead to show the dancer-star in longer shots. This may have had to do with Pavlova’s age (she was in her 30s and not remotely girlish, at least here), but it also comes across as a shrewd directorial choice that serves both the story and the star.” Speaking of feminism and firsts, Manohla Dargis catches up with the restoration of 1916’s The Dumb Girl of Portici, and the other groundbreaking works of its director Lois Weber.

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The View Beyond Parallax… more reads for the week of Friday, December 16

“Chronicling the inception, rise, and demise of Augusto Pinochet’s 17-year dictatorship in the director’s home country, Pablo Larraín’s Chile Trilogy announced the emergence of a major auteur. In contrast to his countryman Patricio Guzmán’s mournful, poetic approach to the same territory, Larraín — who hails from a wealthy right-wing family once associated with the Pinochet regime — treats his country’s tragic history with an acidulous irony that turns his character studies into unnerving allegories of predation and submission.” For TIFF, James Quandt introduces Larrain’s Tony Manero, Post Mortem, and No, all vicious in their satire and despairing in their humanism, though each marked by a distinct visual style essential to their meaning.

“Huston’s is always an art of characterization. Plot for him is never more than the anecdotal circumstance that allows individuals to become fully visible. This applies as much to his first movie, 1941’s The Maltese Falcon, as to his last, 1987’s The Dead. Whatever their literary origins, movies as different as The Night of the Iguana, Reflections in a Golden Eye, The Kremlin Letter, Fat City, and Wise Blood are driven not by the suspense of their stories but by the palpable presence of the people caught up, often stumblingly, in those stories. Huston said once that his notion of what directing was about came from observing his father, the actor Walter Huston, developing a role in rehearsals. The visual power of his films comes in general not from effects of architecture or landscape—master though he was of such effects—but from the way he watches humans making their way, or failing to make their way, through those surroundings.” For Geoffrey O’Brien, that’s no less true of Huston’s heist classic The Asphalt Jungle—however much the robbery got remade in later picture, it’s the characters that keep us in suspense.

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Orson Welles on 'Chimes at Midnight,' on Blu-ray and DVD from Criterion

Great Restorations, Revelations, and Debuts of 2016

It’s been a fine year for film history rediscovered—and rendered newly accessible.

We live in a culture with unprecedented access to movies—through DVD and Blu-ray, streaming subscription services, and SVOD. And it’s not just new and recent films and TV programming; classic Hollywood films, international movies, documentaries, experimental film, and even hundreds of silents, many of them in restored and remastered editions, are available through physical purchase or streaming rental. The inevitable trade-off is the loss of a lively repertory culture of theatrical film revivals.

The good news is that revivals and restorations can still be big-screen events—just look at the attention that Dekalog and Chimes at Midnight and One-Eyed Jacks received when they returned to the big screen—and dedicated home-video distributors continue to make these newly restored editions accessible on disc and various streaming services for anyone out of reach of a cinematheque or a dedicated film festival.

Now here’s my list of the archival events of 2016—the debuts and rediscoveries of classic films and cinema landmarks, the restorations of great films, and the revivals of previously unavailable or inaccessible movies. I confess to my biases up front: This selection focuses on restorations available to American audiences in 2016 regardless of where they live (thus King of Jazz, which only played a few cities, is not in contention), favors films previously inaccessible to audiences, and reflects my own subjective historical and aesthetic inclinations. Your mileage may vary. If you bristle at the idea of the “best,” think of this of a survey of the breadth of restorations and rediscoveries that film lovers now have a chance to see, regardless of where they live, as long as they have a web connection and a Blu-ray player.

CHIMES AT MIDNIGHT

1. Chimes at Midnight (Janus Films theatrical, Criterion Blu-ray and DVD)

The film that Orson Welles proclaimed his favorite (“If I wanted to get into Heaven on the basis of one movie, that’s the one I would offer up”) suffered a fitful American release 1965, decades of legal limbo that effectively kept it off screens and home video, and a legacy of battle-scarred prints with murky soundtracks for those few special event screenings. After years of negotiating the tangled rights and gathering materials, the film was restored in 2015 and, on New Year’s Day 2016, given its first official American theatrical showings since the 1960s. It is magnificent and nothing short of a revelation. Chimes at Midnight is one of Welles’ unqualified masterpieces, his greatest film according to many critics, and a personal project that took decades to finally bring to the screen, and for many Americans this was the first opportunity to see it. The restoration produced by Spain’s Filmoteca Española was created from the original negative, and the American release given additional digital restoration. For those not fortunate enough to have a theatrical screening handy, Criterion gave the restoration a worthy special edition on Blu-ray and DVD.

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#Noirvember Blu-ray: The rural noir of ‘On Dangerous Ground’ and ‘Road House’

ondangerousgroundOn Dangerous Ground (Warner Archive, Blu-ray) (1952), directed by Nicholas Ray from a script he developed with A.I. Bezzerides and producer John Houseman, opens on the urgent yet fractured dramatic score by Bernard Herrmann, a theme that rushes forward anxiously, pauses with quieter instruments, then jumps again as we watch the nocturnal city streets in the rain through the windshield of a moving car. This is the view of the city as seen by Jim Wilson (Robert Ryan), as an obsessive, tightly-wound police detective who works the night shift on the urban streets of an unnamed city filled with grifters, hookers, and petty crooks. He’s as dedicated as they come—he studies mug shots over his meal before the start of shift—but he has no family, no girl, no hobbies, as a quick survey of his Spartan apartment shows, and his single-minded focus on the job has twisted the compassion out of him. When his anger boils over into violence once too often, he’s sent out of town to help with a murder case in the rural countryside.

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#Noirvember Blu-ray: The urban noir of ‘I Wake Up Screaming’ and ‘Cry of the City’

iwakeupscreamI Wake Up Screaming (Kino Lorber Studio Classics, Blu-ray) is not just one of the great movie titles of classic cinema, it is one of the films that established the distinctive style and attitude of film noir, from the blast of a headline shouting BEAUTIFUL MODEL FOUND MURDERED to the third degree given to swaggering sports promoter Frankie Christopher (Victor Mature) under the glare of a blinding lamp in a rather suspicious room of worn brick and cast-off furnishings, more of a cell than an official interrogation room. Mature is lit up in the center of the screen while hard shadows assault the walls and slashes of light and looming silhouettes give the cordon of cops wrapped around him a look more like intimidating mob hoods than New York’s finest. On the other side of the dungeon door is the public side of the detective’s room where Jill Lynn (Betty Grable), the victim’s sister, is treated more gently, but she’s just as trapped. When the camera swings around we see a cage around her. The picture opens with a punch and the backstory is quickly filled in with jabs of flashbacks, jumping back and forth between the smart mouthed dandy of a promotor and the demure young woman as they lay out the events leading up to the murder of ambitious Carole Landis, the hash slinger promoted to celebrity success by Mature like a noir Pygmalion.

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#Noirvember Blu-ray: The docu-noir of ‘Boomerang’ and ‘The House on 92nd Street’

house92The House on 92nd Street (Kino Lorber Studio Classics, Blu-ray), a 1945 World War II espionage thriller based on a real life FBI case, launched what would become the semi-documentary strain of film noir. It opens with the authoritative narration of Reed Hadley (uncredited but omnipresent in the genre) insisting on that this is an accurate dramatic treatment of a true story shot on locations where it occurred and slips into procedural about a German-American scientist (William Eythe) who is recruited by the Nazis for their bomb project and goes undercover for the FBI to find the mole giving A-bomb research to Germany. It’s produced by Louis de Rochemont (producer of the March of Time newsreel series) and directed by Henry Hathaway with a rather flat style, which isn’t helped by the blandness of Eythe or the archness of Lloyd Nolan as the lead agent. It’s an interesting film for all of its detail and location shooting and use of real FBI agents in minor roles and it launched the docu-noir style that was picked up and developed in films like T-Men (1947),  The Naked City (1948), and Hathaway’s own Call Northside 777 (1948). Signe Hasso, Gene Lockhart, and Leo G. Carroll co-star.

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Blu-ray: ‘Private Property’ rediscovered and restored

privatepropertyPrivate Property (Cinelicious, Blu-ray+DVD) – Put this 1960 film in the “Lost and Found” category. The directorial debut by Leslie Stevens, a playwright and screenwriter and protégé of Orson Welles, it’s a neat little sexually-charged psychological thriller set in the sunny California culture of affluence and trophy wives and drifting hitchhikers crossing the stratified social borders.

Corey Allen and Warren Oates are Duke and Boots, the George and Lenny of angry drifters, and Kate Manx is the beautiful trophy wife that Duke spots on the Pacific Coast Highway in a white Corvette. They coerce a travelling salesman to follow that car and trail her to her Hollywood Hills home, taking up residence in a vacant home next door. They ogle her through the second floor window as Anne sunbathes and skinny dips, and then they insinuate themselves into her home. A student of the Method school, Allen plays Duke as an angry young con man who has perfected the sensitive soul act, while Manx, who was Stevens’ wife at the time, is a limited actress who Stevens directs to an effective performance. Oates is the revelation, walking that tightrope between loyalty and suspicion, slowly figuring out Duke’s games but slow to act until practically pushed into action.

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The View Beyond Parallax… more reads for the week of Friday, November 18, plus Seattle Screens

“And do not, please do not, get him started on the people who approach him after the show with a Sling Blade DVD to sign. You just watched him perform his heart out for you and you are going to present him with a Sling Blade DVD? ‘Sure, I’ll sign your Sling Blade DVD,’ he says now. ‘And you can go home and fuck missionary like a metronome and never have an original creative idea in your life.’” Taffy Brodesser-Akner spends four days on tour with Billy Bob Thornton’s band, and with acidic comic precision captures the pretension and solipsism of the frustrated actor and swears-he’s-never-doing-that-again director, while making clear how under that remains a unique, untamable talent—and right under that, the survivor of horrible abuse trying to make a life for himself that works. Via Longform.

“Though Dreams received some appreciative reviews, many critics knocked it for what they saw as overt didacticism and stasis. They found the main character (played as a child by Toshihiko Nakano and Mitsunori Isaki and as an adult by Akira Terao), to be frustratingly passive, and the director’s themes—his fears about humanity and nature—to be mired in simplistic moralizing. Such criticisms, however, fail to appreciate the layers of meaning in Dreams, not to mention its stylistic strangeness. The film’s surfaces may be gentle; the experience of watching it is anything but.” Bilge Ebiri considers the autobiographical elements and experiments in stylization that make Dreams—not surprisingly—arguably Kurosawa’s most personal film.

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Seattle Screens: Italy! Morocco! Wiseman!

The 8th Cinema Italian Style series plays through the week at SIFF Cinema Uptown. It opens on Thursday, November 10 with Paolo Virzi’s Like Crazy with Valeria Bruni Tedeschi and ends a week later on Thursday, November 17 with closing night feature Opposites Attract, a romantic comedy directed by Max Croci, who is scheduled to attend the screening and the closing night party. Among the 15 features and documentaries are Anna (For Your Love), which earned Valeria Golina the Best Actress award at the Venice Film Festival, the romantic comedy Solo, written and directed by actress Laura Morante, the award-winning documentary Libera Nos about the continued practice of exorcism on the Italian Catholic Church, and a new restoration of Ettore Scola’s A Special Day (1977) starring Sophia Loren and Marcello Mastroianni. It continues for a week. Series and individual ticket available. Complete schedule and tickets here.

The 6th Seattle Shorts Film Festival opens on Friday, November 11 at SIFF Film Center with a feature film: Before I Disappear is Shawn Christensen’s feature-length adaptation of his 2012 Oscar-winning short film Curfew. The rest of the festival, which plays through the weekend at SIFF Film Center, presents 49 short films and music videos, including numerous Seattle premieres and works by local Seattle and Pacific Northwest filmmakers, and two panel discussions. Complete schedule and other information at the festival website here.

The Seattle Sephardic Network presents The Midnight Orchestra (2015) from Morocco, a drama about the son of a Jewish musician returning home to Morocco to bury his father. One show only on Wednesday, November 16 at The Majestic Bay in Ballard.
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Robert De Niro is Travis Bickle in Martin Scorsese's 'Taxi Driver'

Blu-ray: Martin Scorsese’s ‘Taxi Driver’ at 40

taxi-driver-bdTaxi Driver: 40th Anniversary Edition (Sony, Blu-ray)

Martin Scorsese’ incendiary 1976 masterpiece of alienation and anger and urban anxiety may be the most maverick vision of seventies American cinema. It is certainly one of the most visceral portraits of the American urban underbelly ever put on film, a movie bathed in blood as much as in light, and almost forty years later it still has the power sink the audience into the mind and filthy, fetid world of Travis Bickle.

Directed by the ambitious young Scorsese, who confesses that he was driven to make this silent scream turned psychotic explosion of a script by Paul Schrader, and starring Robert DeNiro as Travis Bickle, it is a primal portrait and uncompromising vision carved out of the New York night, the summer heat and the garbage of the Times Square cesspool. Bickle, a character inspired by Schrader’s own spiral into self-obsessed urban loneliness, is no hero. The restless, insomniac Vietnam veteran who takes a job driving a taxi on the night shift and muses over the urban cesspool that he wanders through in his nocturnal prowlings in a hateful gutter poetry has convinced himself that he’s “God’s lonely man,” the self-appointed avenging angel out to clean up the garbage on the streets.

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Seattle Screens: Black and Chrome and Christine Chubbuck

Sure, Marvel’s Doctor Strange, Mel Gibson’s Hacksaw Ridge, and the animated toy musical comedy Trolls are competing for audiences this weekend, but there’s a lot more out there.

Moonlight, one of the most acclaimed American films of the year, opens at The Egyptian. Robert Horton reviews it for Seattle Weekly.

Mad Max: Fury Road Black & Chrome Edition, the black-and-white version of the film that George Miller called “more authentic and elemental,” plays exclusively at Cinerama for a ten-day run. Schedule and ticket information here.

The 8th Cinema Italian Style series opens Thursday, November 10 at SIFF Cinema Uptown with Paolo Virzi’s Like Crazy with Valeria Bruni Tedeschi. It continues for a week. Series and individual ticket available. Complete schedule and tickets here.

Premieres:

Christine Chubbuck, the local Sarasota TV newswoman who committed suicide on air in 1974, is the subject of two films opening in Seattle this weekend. Christine, from director Antonio Campos, stars Rebecca Hall as the newscaster spiraling into depression. It’s scheduled to play for a week at SIFF Cinema Uptown.

Kate Plays Christine, from dramatic / documentary hybrid from filmmaker Robert Greene, follows actress Kate Lyn Sheil as she attempts to get into “character” as Christine Chubbuck. It won the Special Jury Award for screenplay at Sundance. Plays through Sunday at NWFF.

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Linas Phillips

Interview: Linas Phillips, Nonthreatening Triple Threat

Linas Phillips is probably better known to fans of American indie cinema as an actor than as a filmmaker. A graduate of New York University’s Experimental Theatre Wing, he co-starred with Jay Duplass in Manson Family Vacation (2015) as the Charles Manson-obsessed character who drags his estranged brother on a tour of Mason murder sites. Phillips has supporting roles in Craig Johnson’s True Adolescents (2009, starring Mark Duplass) and his buddy Todd Rohal‘s Uncle Kent 2 (2015), and he appeared in the HBO shows Togetherness, working again with the Duplass brothers, and Eastbound and Down, with director David Gordon Green.

In 2006, after moving from the East Coast to Seattle, Phillips directed his first film, the non-fiction feature Walking to Werner. He became an active member of the Seattle independent scene, constantly developing projects and working with other local filmmakers trying to get their films made. “I originally came here because I wanted to change my life,” he explained. “I just checked out, I stopped everything I was doing in my life, like babysitting work and performing, and I decided I was going to learn to be a filmmaker. It was great to be in a whole new city while you are re-identifying yourself.”

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Blu-ray: Giallo! Restored Italian horrors on Arrow, Synapse and more

bloodblackBlood and Black Lace (Arrow/MVD, Blu-ray+DVD)
What Have You Done to Solange? (Arrow/MVD, Blu-ray+DVD)
Death Walks Twice: Two Films by Luciano Ercoli (Arrow/MVD, Blu-ray+DVD)
Killer Dames: Two Gothic Chillers by Emilio P. Miraglia (Arrow/MVD, Blu-ray+DVD)
Edgar Allan Poe’s Black Cats: Two Adaptations by Sergio Martino & Lucio Fulci (Arrow/MVD, Blu-ray+DVD)
The Horrible Dr. Hichcock (Olive, Blu-ray, DVD)
Tenebrae (Synapse, Blu-ray, DVD)
Manhattan Baby (Blue Underground, Blu-ray)

A mysterious stranger stalks a beautiful woman as the camera creeps in like a voyeuristic partner in crime. Black gloved hands reach for the lovely neck of a young maiden. The faceless killer strangles, stabs, slashes, or otherwise horribly murders her in front of our eyes, the camera recording every perverse detail. This description of the giallo could fit the hundreds of slasher films but the true giallo—a distinctive Italian brand of horror film that was born in the 1960s and flourished in the 1970s and 1980s—combines a poetic, haunting beauty with Grand Guignol gore and a bent of sexual perversity. You could call it “spaghetti horror,” though it hardly captures what makes the genre so unique and, at its best, so delicious.

Italian horror did not begin and end with giallo, which is the Italian word for “yellow” and refers to a series of cheap paperback mysteries and thrillers that sported yellow covers, but it certainly put the genre on the map and influenced the direction of Italian horror (as well as, among others, Spanish and French horror) for decades. The cinematic roots include Alfred Hitchcock’s Psycho (with its elaborately choreographed murder scenes), Agatha Christie’s And Then There Were None, and the krimi, a distinctly German genre of murder mystery based on the British thrillers of Edgar Wallace and his son, Bryan Wallace. These films generally featured a mysterious, usually masked killer, an eccentric investigator, and a roll call of suspects that usually ended up systematically murdered in creatively gruesome ways.

Death Walks at Midnight - image courtesy of DVD Beaver

Death Walks at Midnight – image courtesy of DVD Beaver

Mario Bava and Dario Argento are the king and crown prince (respectively) of the genre that was born in the sixties, bloomed in the seventies, and celebrated a resurgence in the late nineties as scores of gialli rolled out on videotape and DVD in restored and uncut versions. I devoured these releases but, like so many other fans, I also discovered that the pool of Italian horror was, just as with the spaghetti westerns in the 1960s, huge and filled with copycats and knock-offs cashing in on the current trends. The excitement waned as the pool of classics was quickly drained and I worked my way through lesser and lesser horrors just waiting for moments of inspiration. That’s not to say anyone gave up on the genre, only that for a few years the hits were fewer and farther between.

Labels like Blue Underground, Kino Lorber, Synapse, and Mondo Macabro kept the genre alive during these fallow years. Now Arrow, a British label that recently launched an American line of Blu-ray and DVD releases (through distributor MVD), has injected new blood into the genre with some of the best editions of classic, notorious, and outrageous giallo titles in the past couple of years. Most (if not all) of these films have previously been released on DVD, some of them satisfactory, others not so much. They make their respective Blu-ray debuts in impressive deluxe editions. Here are a few stand-out releases from the past 12 months or so, as well as a few choice releases from other labels. And where better to start than…

Blood and Black Lace (Arrow/MVD, Blu-ray+DVD), Mario Bava’s 1964 giallo landmark. Many experts of the genre have cited The Girl Who Knew Too Much (1963) as the birth of the giallo, but I say this elegant slasher picture and its mix of poetic, haunting beauty with Grand Guignol gore and a bent of sexual perversity is where it really began. If Peckinpah’s The Wild Bunch turns violence into a ballet, then Blood and Black Lace is murder as ballroom dance. Bava sets the atmosphere with a beautiful yet eerie credits sequence that gives each star his or her own moving fashion still and then jumps into a stormy night, where the winds lash and snap the chains of the hanging sign and twist the streams of the elegant fountain until it resembles the spray of a disaster. Order becomes chaos.

Continue reading at Cinephiled

The View Beyond Parallax… more reads for the week of Friday, October 28

“In retrospect, the authentic set of the film looks mostly unreal, and in spite of minute attention to details, even by the 1920s standards, it is a décor which looks like décor. It has an MGM quality to it. The camera never makes any attempt to hide the fresh paint on the walls (in reality, when Joan of Arc was on trial the castle was already 200 years old and ravaged by wars and natural elements). In fact, the sets were painted pink to look grey in the final film—more Frank Tashlin than “transcendental.” But was Dreyer looking for any sort of realism at the first place?” A tour of the models and photos at the Danish Film Institute has Ehsan Khoshbakht considering anew the full-scale set built for Dreyer’s The Passion of Joan of Arc, whose every carefully researched detail was radically fragmented, deconstructed, and “ignored” in the filming and editing.

The new issue of La Furia Umana contains a dossier on Jack Smith, including Marc Siegel’s career overviews of both the filmmaker (“While Smith found redeeming social and aesthetic qualities in all of these undervalued genre films that allowed visual spectacle and exotic settings to trump narrative and character development, he reserved a special place in his personal pantheon for the films of director Josef von Sternberg and actress María Montez.”) and one of his stars, Mario Montez (“At that point they were releasing Cleopatra [Joseph Mankiewicz, 1963] with Elizabeth Taylor. And there were these wide-screen posters in the subways in New York City. (I stole one. I used to steal posters and things like that.) I said, ‘Jack, why don’t we do a version of Cleopatra. And we’ll title it Cleo Pot Roast.’”). Andrea Lissoni argues his centrality in American underground art (“How could I summarize the essential traits of such a dense body of work, spanning film, theatre, performance, photography, visual art and life? It could all be wrapped up in one word: authenticity.”), while J. Hoberman recounts Smith’s live performances of the later years. (”At the performance [of Smith’s staging of Ibsen’s Ghosts] I attended, Regina was played by a large pink plush hippo suspended in a pulley-operated basket, Engstrand and Pastor Manders by a pair of toy monkeys, each placed on a little wagon, while Mrs. Alving had a human interpreter (NYU drama professor Ron Argelander) who sat inside a supermarket shopping cart, swathed in scarves and a thick, black veil.”) There’s an essential interview (by Renaldo Censi) with Jerry Tartaglia, the restorer of Smith’s film archive (“There never was any Normal Love movie in a complete form that he preordered. His life and his art were an ongoing process of mixture and reinvention. That is the point. The “restoration” was not a scientifically ordered procedure. It was a preservation of the works in the state that they were in at the time of his death.”), and some short, rancorous personal anecdotes from Ken Jacobs and David E. James that testify to the affronted paranoia almost inevitable when an artist as personal and rapturous as Smith is greeted mostly with censorship and harassment.

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Seattle Screens Halloween weekend: ‘The Hunger,’ ‘The Pit,’ ‘Rocky Horror,’ and Carpenter’s ‘Halloween’

Park Chan-Wook’s The Handmaiden, a con artist scheme by way of a steamy erotic thriller, opens at multiple theaters this week, including SIFF Cinema Uptown and Guild 45.

The Canadian coming of age comedy Closet Monster plays for a week at SIFF Cinema Egyptian.

Miss Hokusai, an animated Japanese feature from director Keiichi Hara and the creators of Ghost in the Shell, opens for a week at SIFF Cinema Uptown.

Archival and revival screenings:

Grand Illusion presents two contemporary twists of the vampire film on 35mm this weekend and on Halloween night: The Hunger (1983), the feature debut of director Tony Scott featuring Catherine Deneuve and David Bowie, and Jim Jarmusch’s Only Lovers Left Alive (2013) with Tilda Swinton and Tom Hiddleston.

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