Paris, Texas is often accredited to being the film that invented Americana, and it’s hard not to fall in love with the look of this film. The way the film is shot — long, lingering takes of sublime natural American landscapes; hot, buzzing neon signs; concrete constructions that stand like monoliths in the desert, dotted with anonymous shapes and automobiles — is almost as if Wim Wenders, working with long-time collaborator and cinematographer Robby Müller, wanted to feed all of American history and culture into the very essence of this bizarre and beautiful film.
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