Only Lovers Left Alive is a haunting contemporary exploration of vampire myths
Set against the romantic desolation of Detroit and Tangier, Only Lovers Left Alive is one of Jarmuschʼs most visually impressive movies to date.
An underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister.
Adam and Eve have been lovers for centuries. Both are cultured intellectuals with an all-embracing passion for music, literature and science, who have evolved to a level where they no longer kill for sustenance, but still retain their innate wildness.
SHARP OBSERVANT STORYTELLING
Only Lovers Left Alive is a fascinating and truly unique movie in the filmography of independent director Jim Jarsmuch. A mesmerizing tale of hipster vampires set within a modern day backdrop, Jarmsuch proves yet again his ability of constructing excellent genre twisting movies that leave us feeling more than satisfied.
This remarkably haunting tale’s themes of vampire myths are exemplary within a formula of romanticism and decadence. Jarmusch takes a subtle approach with this topic and delivers a movie of sharp observant storytelling. Beautifully lit and photographed, performances from Tilda Swinton and Tom Hiddleston impeccably portray their commentaries on the differences with generations.
Whilst this movie isnʼt quite the vampire flick per-say, Jarmusch does have fun plying with itʼs motifs, engaging us in a narrative that may be a little thin on the ground but is elegantly somber, inexpressibly sad yet sometimes very funny. Itʼs a movie for the anti-Twilighters.