Only Lovers Left Alive

“The vampires that walk among us—and they do—are not the Twilight kind, or the True Blood kind, or even the Buffy kind. In the world of Jim Jarmusch’s Only Lovers Left Alive, the director’s most emotionally direct film since Dead Man, and maybe his finest, period, vampires are people who stay in love for a very long time” (Stephanie Zacharek, Village Voice.) “If Jarmusch’s (BROKEN FLOWERS) languorous, laconic style isn’t your bag, his stone-faced vampire comedy won’t make you a believer. Those who’ve already been bitten, however, will swoon like the film’s toothy leads whenever their lips touch neck juice. First is Adam (Tom Hiddleston), a depressive bloodsucker living clandestinely in Detroit. He’s a musician by trade (there was that time he wrote an adagio for Schubert) and he has a halfhearted longing to commit suicide because the world has been taken over by “zombies” (a.k.a. humans). His long-distance love is the unearthly Eve (Tilda Swinton), who slinks assuredly around Tangier and—since she considers chomping on Homo sapiens a low-class remnant of the Middle Ages—procures high-grade hemoglobin from fellow vamp Christopher Marlowe (John Hurt), the 16th-century dramatist who, in the movie’s logic, may have written all of Shakespeare’s plays. Jarmusch has created a requiem for a way of looking at life that is being increasingly relegated to the shadows. Yet it’s the kind of dirge that, perversely and profoundly, sends you back out into a volatile world with a glad-to-be-alive high.”—Time Out NY. R. 123 Min.

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