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Palestinian-French actress Hiam Abbass and her filmmaker daughter Lina Soualem touch down at the Toronto International Film Festival on Monday with documentary Bye Bye Tiberias.

The intimate work takes the mother and daughter back to the Arab village, situated within Israeli borders in the Lower Galilee, which Abbass left behind in the early 1980s to pursue her acting dreams in Europe.

There, they explore the lives and legacies of four generations of women, all marked in different ways by the consequences of the first generation being expelled from the long-time family home city of Tiberias in 1948, on the eve of the creation of Israel.

Abbass’s near-100 credits have included Tunisian drama Red Satin, Moroccan hit Rock The Casbah, Israeli productions The Syrian Bride and Lemon Tree; Syria civil war-set Insyriated, Palestinian dramas Degradé and Gaza Mon Amour as well as parts in Steven Spielberg’s Munich and Jim Jarmusch’s The Limits Of Control.

August is here and with it a whole host of new movies to watch on streaming has arrived. It can be daunting thumbing through the lists of what’s new on Netflix, Prime Video, Max, Hulu, Disney+, Peacock and Paramount+, and that’s where we come in handy. Below, we’ve put together a curated list of some of the best new movies to stream this month, including brand new originals like Gal Gadot’s actioner “Heart of Stone,” new releases making their streaming debut like “Guardians of the Galaxy Vol. 3” and excellent library titles such as David Fincher’s “Zodiac.”

You’ll find all of that and more in our curated list of the best new movies to stream in August.

“Mixtape” Paramount+

Paramount+ – Aug. 1

This new documentary details how mix tape culture helped hip-hop culture enter the mainstream. From the official press release: “Before radio play, the internet,...

Jim Jarmusch hopes his latest project — a soundtrack composed with his SQÜRL bandmate Carter Logan for a new restoration of Man Ray silent films — induces in viewers a “psilocybin-inspired” experience.

The “Only Lovers Left Alive” and “Stranger Than Paradise” filmmaker and musician, along with Logan, spoke exclusively with IndieWire about the screening of four early-1900s black-and-white shorts from Dadaist pioneer Man Ray hitting Cannes Classics tonight: “Return to Reason,” “Emak-Bakia,” “The Starfish,” and “The Mysteries of the Chateau of Dice.”

Together, Jarmusch and Logan improvised an original score, a tripped-out sonic soup of distorted guitars and loopy feedback, now recorded to accompany the films. The quartet of shorts holds up a distorted mirror to human sexuality as Jarmusch and Logan’s eerie music envelops the Freudian dreamscape — and while you might be tempted to drop a tab of acid or mushroom cap or two for the viewing, Jarmusch says that’s not necessary,...

London- and Paris-based production, finance and sales company Film Constellation is launching sales on “Return to Reason,” the newly restored 4K version of an assembly of Man Ray’s four cult classic silent films, paired with an original soundtrack by Jim Jarmusch and Carter Logan’s SQÜRL.

The film, which is produced by Marieke Tricoire at Womanray and Julie Viez at Cinenovo, will premiere in Cannes’ Official Selection as part of the Cannes Classics sidebar.

Celebrating the 100th anniversary of Man Ray’s first film in 1923, “Return to Reason” is the first 4K restoration of Man Ray’s four surrealist and dreamlike short films, known as the first surrealist films, now accompanied by an exclusive soundtrack composed and performed by filmmaker Jim Jarmusch and musician Carter Logan’s band SQÜRL.

“Le retour à la raison”

Featuring “Le retour à la raison” (Return to Reason) (1923), “Emak Bakia” (1926), “L’étoile de mer...

SQÜRL, the duo of filmmaker Jim Jarmusch and Carter Logan, have announced their debut album, Silver Haze, out May 5th via Sacred Bones. As a preview, they’ve shared the opening track, “Berlin ’87,” and its accompanying video.

Silver Haze is described in a press release as “a poetic journey of spoken words, dynamic instrumentals, drone riffs, and distorted effects, one that features tubular bells and a cello in addition to their signature stacks of delay, encircling the listener in a warm oscillation both delicate and devastating.”

Produced by Randall Dunn, it features Charlotte Gainsbourg, Anika, and Marc Ribot. Pre-orders are ongoing. See the artwork and tracklist below.

“Berlin ’87” features heavy, droning guitar riffs first laid down by Jarmusch in his home studio while inspired by memories of living in — you guessed it — Berlin in 1987. The skeleton track was then “SQÜRLized by Carter and Randall at Circular Ruin,” according to a press release.

From Pig starring Nicolas Cage, Writer/Director Michael Sarnoski and Writer/Producer Vanessa Block join Josh and Joe to discuss the movies that inspired them during the creation of their film.

Show Notes: Movies Referenced In This Episode

Nobody (2021)

Infested (2002)

The Big Chill (1983)

A History of Violence (2005)

Pig (2021)

Mandy (2018)

John Wick (2014)

The Testimony (2015)

No Country For Old Men (2007) [Both] – John Badham’s trailer commentary

The Maltese Falcon (1941) – John Landis’s trailer commentary

Blood Simple (1984) – Josh Olson’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzaliio’s review

Leaving Las Vegas (1995)

Raising Arizona (1987)

Moonstruck (1987) – Glenn Erickson’s trailer commentary

Joe (2013)

Witness For The Prosecution (1957) [Vanessa Block] – Larry Cohen’s trailer commentary

Easter Parade (1948)

Titanic (1997)

Never Been Kissed (1999)

Abbott And Costello Meet Frankenstein (1948) – John Landis’s trailer commentary

McCabe and Mrs. Miller (1971) – Josh Olson’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review

The Crow (1994)

Jurassic Park (1993)

Midnight Cowboy (1969) [Michael Sarnoski] – Glenn Erickson’s Criterion...

New from Arrow Video Us and Arrow Academy Us Slaughterhouse-five [Blu-ray] (12/3) Jake Speed [Blu-ray] (12/3) The Limits Of Control [Blu-ray] (12/10) via Mvd Entertainment Group Arrow Brings 2019 to a Close with Alien Abductions, Pulp Heroes, and Jim Jarmusch! 2019 has been another great year for Arrow Video with a number of new releases to please …

The post Arrow Video Us – December 2019 Release Schedule appeared first on Hnn | Horrornews.net.

Jim Jarmusch’s The Limits Of Control will be available on Blu-ray December 10th From Arrow Academy

When it comes to American independent cinema, there s no one quite like Jim Jarmusch, the celebrated auteur behind such classics as Stranger Than Paradise and Only Lovers Left Alive. Eschewing his usual American landscapes in favor of a variety of locations throughout urban and rural Spain, his 2009 anti-thriller The Limits of Control remains one of his most alluring and multi-layered creations.

4

An enigmatic loner arrives in Spain, instructed to make contact with a series of strangers in different locations throughout the country, each of whom provides a cryptic clue which propels him further towards his mysterious goal. But who is the Lone Man? Why is he here? And how does the recurring figure of an alluring femme fatale fit into the puzzle?

Boasting stunning cinematography by the award-winning Christopher Doyle (In the Mood for Love...

Gael García Bernal said acting for the likes of Oscar winners Alejandro González Iñárritu and Alfonso Cuarón helped groom him for the director’s chair and praised cinema as “the only medium” that allows artists to “explore the gray areas” in unparalleled ways.

“The world is so full of certainties now, and cinema is the one that can open up those spaces with poetry and really provoke,” he said.

The Mexican multi-hyphenate was appearing at the Sarajevo Film Festival after a special screening of his second directorial feature, “Chicuarotes.” Earlier this week, the festival handed an Honorary Heart of Sarajevo Award to Iñárritu, who directed Bernal in his breakout role in “Amores Perros.”

Speaking at a masterclass on Wednesday, Bernal discussed some of his influences as an actor and director, as well as the inspiration behind “Chicuarotes,” which world premiered out of competition in Cannes. Set in San Gregorio Atlapulco,...

Cannes opener The Dead Don’t Die from Jim Jarmusch bowed in fairly wide 613 theaters Fathers Day weekend, featuring a pack of big named stars turned zombie. The title sauntered to a $2.35M gross in 613 theaters for a $3,827 per theater average.

This is a back to back Cannes opening release for Focus. The company launched the festival’s 2018 starter, Everybody Knows starring Javier Bardem and Penelope Cruz, which had a comparatively higher PTA in its first weekend, albeit in far fewer theaters. The drama grossed over $71K in just four locations, averaging $17,802. Everybody Knows was in fewer than half of The Dead Don’t Die’s location count at its peak. Everybody Knows eventually cumed $2.66M domestically.

The Dead Don’t Die is Jarmusch’s widest opener. Noted Focus president of Distribution when reporting numbers Sunday: “We’re thrilled to see Jim’s biggest opening and his top grossing weekend ever with this film.

The man who quietly (and always weirdly) helped to define American Independent Cinema in the 1980s, Jim Jarmusch has stubbornly made his own kinds of films in his own way. If Hollywood ever thought they could make him fit into one of their boxes, they were wrong to try, and eventually, his actor admirers sought him out to be in a series of idiosyncratic and always fascinating films. Here’s our ranking of his singular output:

13. “Coffee & Cigarettes” (2003): Sure, it’s the last one on this list, which technically means it’s the “worst,” but even the least plotted, most indulgent and freely floating Jim Jarmusch film provides memorably weird, comedic pleasures. This brazenly pointless sequence of non-events is 11 segments long, each one starring different actors, all of them talking — most frequently about the Tesla Coil — while drinking coffee and smoking. All except for Gza and RZA, that is,...

Cannes – “The Dead Don’t Die” has received a mostly ambivalent reaction from the media at Cannes, but when you have Bill Murray in your cast and in town you pretty much know his press availabilities are gonna be a ton of fun. Murray, who has previously collaborated with director Jim Jarmusch on “Broken Flowers” and “The Limits of Control,” was on fire as he answered one question after another at the film’s official press conference on Wednesday.

Continue reading Bill Murray, Um, Kills It At The ‘Dead Don’t Die’ Cannes Press Conference at The Playlist.

Rick Kelly with Anne-Katrin Titze at Carmine Street Guitars on instigator Jim Jarmusch: "I really like The Limits of Control because there's some of my dialogue that's in that movie." Photo: Ed Bahlman

In Ron Mann's welcoming Carmine Street Guitars (a New York Film Festival highlight in Spotlight on Documentary), dedicated to Jonathan Demme, featuring the mastery of Rick Kelly and Cindy Hulej we go into the woods.

Jim Jarmusch, along with Eszter Balint, Patti Smith's Lenny Kaye, Bill Frisell, Charlie Sexton, Marc Ribot (Alexandre Moors' The Yellow Birds), Eleanor Friedberger, Christine Bougie of the Bahamas, Wilko's Nels Cline, The Roots' Kirk Douglas, Jamie Hince of The Kills, Lou Reed's guitar tech Stewart Hurwood, Dallas Good and Travis Good of The Sadies, who also composed the music for the documentary, all appear in the shop and play guitar except one.

Rick Kelly: "I really...

Jim Jarmusch’s zombie movie “The Dead Don’t Die,” starring Bill Murray, will open on June 14.

Focus Features’ “The Dead Don’t Die” also stars Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Selena Gomez, Carol Kane, and Tom Waits.

The movie is written and directed by Jarmusch. Producers are Joshua Astrachan and Carter Logan. Focus Features and Universal Pictures International will distribute the film worldwide. Focus has noted that it’s the third Jarmusch film that it’s handled following 2005’s “Broken Flowers” and 2009’s “The Limits of Control.”

Plot details have not been disclosed. On-set photos showed Murray as a police officer alongside colleagues portrayed by Driver and Sevigny. Images also showed Gomez and a bloody Austin Butler.

Jarmusch and Murray previously worked together on 2003’s “Coffee and Cigarettes” and 2005’s “Broken Flowers.” Driver starred...

”“I’ve been thinking about why I do a lot of films about destruction,” Caballero told the audience.

Leading Mexican production designer Eugenio Caballero touched down in Qatar to talk about his work on Pan’s Labyrinth, The Limits Of Control, The Impossible, A Monster Calls and Roma for the Doha Film Institute’s Qumra event this weekend (March 15-20).

Caballero acknowledged production designers are rarely in the limelight - by comparison with other key crew such as cinematographers and costume designers - and joked this was one of the perks of the job.

However he was keen to promote...

In “Mandy,” Nicolas Cage goes on a wild-eyed quest for revenge, but the movie’s plot comes secondary to the experience of watching it. Director Panos Cosmatos’ follow-up to his similarly atmospheric “Beyond the Black Rainbow” is a heavy metal tone poem, replete with leather jackets, shadowy landscapes, and unfiltered bursts of rage. Much of its expressionistic power comes from an undercurrent of music that envelops nearly every moment, evoking dread and wonder in equal doses.

The “Mandy” score is one of the best of the year, a fierce emotional arrangement of mournful synth and somber guitars, interspersed with jarring eruptions of percussion — all of which demonstrate the complex vision of Icelandic composer Jóhann Jóhannsson, who died in February at the age of 48, shortly after “Mandy” premiered at Sundance.

Now, as “Mandy” has catapulted beyond its initial day-and-date release to become a genuine cult phenomenon, its creators have been campaigning...

Caleb Landry Jones has joined the ensemble of Jim Jarmusch’s zombie pic “The Dead Don’t Die.”

Jones was seen in on-set photos obtained by the Daily Mail. Details behind his role are currently unknown.

Jones joins Bill Murray, Selena Gomez, Adam Driver, Tilda Swinton, Steve Buscemi, and Chloe Sevigny. The film is already filming in Upstate New York. This marks Focus Features’ third Jarmusch feature following 2005’s “Broken Flowers” and 2009’s “The Limits of Control.” Joshua Astrachan and Carter Logan are producing the movie.

Jarmusch previously portrayed the world of the undead in the 2013 fantasy drama “Only Lovers Left Alive,” toplined by Swinton, Tom Hiddleston, Mia Wasikowska, Anton Yelchin, Jeffrey Wright, Slimane Dazi, and John Hurt. The movie was nominated for the Palme d’Or at the 2013 Cannes Film Festival.

Focus Features and Universal Pictures International will distribute the pic.

Jones’ reps could not be reached for comment.

Jim Jarmusch’s new zombie comedy The Dead Don’t Die is underway in production with Focus Features. This is the writer-director’s third film with Focus having previously made Broken Flowers (2005) and The Limits of Control (2009) together. Joshua Astrachan and Carter Logan will produce.

The cast is led by many past Jarmusch collaborators including Academy-Award® nominee Bill Murray (Broken Flowers), Adam Driver (Paterson), Academy-Award® nominee Chloë Sevigny (Broken Flowers), Academy-Award® winner Tilda Swinton, Steve Buscemi (Mystery Train), as well as Selena Gomez in her first Jarmusch feature.

Focus Features and Universal Pictures International will distribute the film worldwide.

Current and upcoming domestic releases from Focus include Jason Reitman’s new comedy Tully, starring Charlize Theron and written by Diablo Cody; Won’t You Be My Neighbor?, director Morgan Neville’s documentary on Mister Rogers; Lenny Abrahamson’s atmospheric thriller The Little Stranger; Joel Edgerton’s coming-of-age and coming-out drama Boy Erased,...

After taking a unique storytelling angle on vampires in Only Lovers Left Alive, Jim Jarmusch is now turning his attention to zombies in The Dead Don't Die, which just began production with Focus Features and a cast that includes Tilda Swinton, Bill Murray, and Adam Driver:

Press Release: New York, NY, July 13, 2018 – Jim Jarmusch’s new zombie comedy The Dead Don’t Die is underway in production with Focus Features. This is the writer-director’s third film with Focus having previously made Broken Flowers (2005) and The Limits of Control (2009) together. Joshua Astrachan and Carter Logan will produce.

The cast is led by many past Jarmusch collaborators including Academy-Award® nominee Bill Murray (Broken Flowers), Adam Driver (Paterson), Academy-Award® nominee Chloë Sevigny (Broken Flowers), Academy-Award® winner Tilda Swinton, Steve Buscemi (Mystery Train), as well as Selena Gomez in her first Jarmusch feature.

Focus Features and Universal Pictures International will distribute the film worldwide.

Bill Murray and Adam Driver are headlining Jim Jarmusch’s new zombie comedy “The Dead Don’t Die,” which is currently in production with Focus Features, the company announced Friday.

This is Jarmusch’s third film with Focus, having previously made “Broken Flowers” (2005) and “The Limits of Control” (2009) with the studio. Joshua Astrachan and Carter Logan will produce.

Murray, who plays a police officer named Robertson, previously told Philly.com, “I’ve got a good job coming up. Brace yourself: It’s a zombie movie. Jim Jarmusch has written a zombie script that’s so hilarious and it has a cast of great actors: Rosie Perez, Daniel Craig. It’s titled ‘The Dead Don’t Die,’ and it shoots over the summer. But, no, I will not play a zombie.”

Also Read: 'Paterson' Review: Jim Jarmusch, Adam Driver Deliver Ode to Small Pleasures

Chloë Sevigny, Academy-Award winner Tilda Swinton,...

Bill Murray, Adam Driver, Chloe Sevigny, Tilda Swinton, Steve Buscemi and Selena Gomez have been set to star in The Dead Don’t Die, a zombie comedy film from Jim Jarmusch. Production is now underway.

It is the third team-up of Jarmusch and Focus, which distributed the writer-director’s Broken Flowers (2015) and The Limits of Control (2009).

Jarmusch most recently made 2006’s Gimme Danger, a documentary about punk rockers The Stooges, and Paterson starring Driver.

Focus Features and Universal Pictures International will distribute The Dead Don’t Die worldwide.

Independent stalwart Jim Jarmusch is making a zombie movie with Bill Murray and has set up the project at Focus Features.

“The Dead Don’t Die,” which also stars Selena Gomez, Adam Driver, Tilda Swinton, Steve Buscemi, and Chloe Sevigny, is already filming in Upstate New York. Focus noted Friday that it’s the third Jarmusch film that it’s handled following 2005’s “Broken Flowers” and 2009’s “The Limits of Control.” Joshua Astrachan and Carter Logan are producing.

Murray was seen in on-set photos obtained by the Daily Mail. Murray plays a police officer alongside colleagues portrayed by Driver and Sevigny. Images from Just Jared also show Gomez and a bloody Austin Butler.

Although Jarmsuch had not officially announced the project, Murray mentioned the pic in March in an interview with Philly.com.

“I’ve got a good job coming up. Brace yourself: It’s a zombie movie,” Murray said at the time.

Focus Features, Universal Pictures International to distribute worldwide.

Focus Features said on Friday (July 13) that production has begun in on the Jim Jarmusch zombie comedy The Dead Don’t Die starring Bill Murray, Adam Driver, and Tilda Swinton.

Chloë Sevigny, Steve Buscemi, and Selena Gomez round out the key cast on the filmmaker’s third feature project with Focus after Broken Flowers (2005) and The Limits Of Control (2009).

Focus Features and Universal Pictures International will distribute worldwide the film, whose plot points remains shrouded in mystery.

Joshua Astrachan and Carter Logan serve as producers.

Jarmusch’s last films came in 2006 and were Adam Driver drama Paterson,...

Focus Features, Universal Pictures International to distribute worldwide.

Focus Features said on Friday (July 13) that production has begun in on the Jim Jarmusch zombie comedy The Dead Don’t Die starring Bill Murray, Adam Driver, and Tilda Swinton.

Chloë Sevigny, Steve Buscemi, and Selena Gomez round out the key cast on the filmmaker’s third feature project with Focus after Broken Flowers (2005) and The Limits Of Control (2009).

Focus Features and Universal Pictures International will distribute worldwide the film, whose plot points remains shrouded in mystery.

Joshua Astrachan and Carter Logan serve as producers.

Jarmusch’s last films came in 2006 and were Adam Driver drama Paterson,...

Focus Features, Universal Pictures International to distribute worldwide.

Focus Features said on Friday (July 13) that production has begun in on the Jim Jarmusch zombie comedy The Dead Don’t Die starring Bill Murray, Adam Driver, and Tilda Swinton.

Chloë Sevigny, Steve Buscemi, and Selena Gomez round out the key cast on the filmmaker’s third feature project with Focus after Broken Flowers (2005) and The Limits Of Control (2009).

Focus Features and Universal Pictures International will distribute worldwide the film, whose plot points remains shrouded in mystery.

Joshua Astrachan and Carter Logan serve as producers.

Jarmusch’s last films came in 2006 and were Adam Driver drama Paterson,...

When Tilda Swinton works with a director she likes, there’s a good chance she’ll wind up making another movie with them should the opportunity arise. One of the filmmakers on her Rolodex is Jim Jarmusch, with the pair previously collaborating on “Broken Flowers,” “The Limits Of Control,” and “Only Lovers Left Alive.” Now, it looks like she’s gearing up to re-team with the filmmaker once again.

Continue reading Tilda Swinton Reteaming With Jim Jarmusch For New Film at The Playlist.

Jim Jarmusch hasn’t shared any news about his next film project, but the writer-director of 2016’s “Paterson” recently released some new original music from his rock band, Sqürl. The group’s fourth mini-album, “Ep #260,” features five songs, only one of which includes vocals – “Gates of Ishtar.” The heavily instrumental music sounds a lot like a film score, which makes sense considering Sqürl first came together to compose the soundtrack for Jarmusch’s 2009 crime-drama “The Limits of Control.” The band’s first name was Bad Rabbit.

Read MorePaul Thomas Anderson’s New Short Film ‘Valentine’ Is an Exquisite Rock Opera

Sqürl’s members include Vampire Weekend sound engineer Shane Stoneback and “Paterson” composer (and film producer) Carter Logan. Jozef van Wissem (with whom Jarmusch has collaborated on two separate records) has also worked with the band. Sqürl’s cover of the Wanda Jackson song “Funnel of Love,” which features singer Madeline Follin of Cults,...

Legendary Chinese filmmaker Wong Kar-Wai is renowned for his vivid use of color, which the kind folks over at Glass Distortion have made abundantly clear in a sweeping new compilation titled simply, “Wong Kar Wai: Color Obsession.” As the filmmaker’s varied spectrum of bright hues and darker tones splash across the screen, one can see how crucial this colorful aesthetic is to creating the distinct mood and atmosphere for which his films are known.

The Chinese auteur’s obsession with color is well documented, as in this 1998 interview with Bomb Magazine, when he compared “Chungking Express” (1994) to “Fallen Angels” (1995) by discussing both films’ palettes: “Whereas ‘Chungking’ was sunshiny and suffused with bright, lovely daytime colors, ‘Fallen Angels’ is more about neon, and night time, and grunge.”

Read More: Supercut Guru Kogonada: How He Leapt from Small Screens to Sundance Next with the Mysterious ‘Columbus’

Glass Distortion also...

Even when you live in Los Angeles, as I do, if you’re not in the network of critics groups and press screening and screener DVDs it can be a challenge to keep up with everything you tell yourself you have to see before attempting an informed roundup of the year currently in the rearview mirror. And I also try to not let more than a couple of weeks of the new year go by before checking in, regardless of how many of the year’s big presents I have left to unwrap, though in past years I have not lived well by this dictum—let’s just say that if I’m still posting stuff on the year’s best after even Oscar has thoroughly chewed over the goods, as has happened in the past, well, I’ve overstayed my welcome.

2016 was, in most ways, a disaster of a year,...

Jim Jarmusch. Photo courtesy of the Lisbon Estoril Film Festival.This interview took place on an auspicious morning after the U.S. elections. The setting was placid: an oceanside terrace in the small casino town of Estoril, twenty minutes outside of Lisbon, where Jim Jarmusch was attending Paulo Branco’s Lisbon Estoril Film Festival. Despite the harrowing mood, the subject was focused and insightful, talking about his working method, collaborators, and the poetic influences and resonances for his latest film, Paterson, which opens in North America this week.Notebook: I wanted to start by talking about technical matters.Jim Jarmusch: Sure.Notebook: I’m curious…do you use a shot list?Jarmusch: No. Because, say, we go to the location, and it’s 4pm, and we’re shooting the next day at 9am… and now the light is coming from a different place, and maybe it rained overnight, and everything’s different.

After nearly two weeks of viewing some of the best that cinema will have to offer this year, the 69th Cannes Film Festival has concluded. With Ken Loach‘s I, Daniel Blake taking the top jury prize of Palme d’Or (full list of winners here), we’ve set out to wrap up our experience with our 10 favorite films from the festival, which extends to the Un Certain Regard and Directors’ Fortnight side bars.

It should be noted that The Nice Guys, which screened out of competition, was among our favorites of the festival (review here), but, considering it’s now in wide release, we’ve elected to give room to other titles. Check out our top 13 films below, followed by the rest of the reviews and all of our features. One can also return in the coming months as we learn of distribution news for all of the mentioned films.

Legendary American independent filmmaker Jim Jarmusch has been a frequent visitor to the Cannes Film Festival ever since winning the Camera d’Or for Stranger Than Paradise in 1984. He took the Grand Jury prize in 2005 for Broken Flowers but has never managed to nab the Big One. His latest film, Paterson, which premiered last week in competition here, is the story of a bus driver (played by Adam Driver) named Paterson who lives in Paterson NJ, walks his wife’s bulldog, Marvin, and writes poems in his spare time. We sat down with the great silver-haired Son of Lee Marvin to talk hip-hop, Tilda Swinton, and the poetry of everyday things.

Some critics have called this your most personal film. How do would you respond to a statement like that?

I don’t know. With our last film, Only Lovers Left Alive, everyone said “Aha! His most personal film!” I don’t know.

In his Village Voice review of Jim Jarmusch’s criminally under-appreciated The Limits of Control, J. Hoberman described the director as “a full-blown talent [who] erupts once a decade: Stranger than Paradise in the ’80s, Dead Man in the ’90s and The Limits of Control [in the ’00s].” Jarmusch has now validated Hoberman’s estimation with a fresh new masterpiece for our present decade: Paterson.

If there is one element working against the sheer wonder of Jarmusch’s film, it’s our own expectations. The narrative is an exercise in repetition, split up into seven days, the first five near-identical. Each one starts with a captioned – Monday, Tuesday… – top-down shot of Paterson (Adam Driver) and his girlfriend Laura (Golshifteh Farahani) asleep in bed together, followed by a relatively strict routine of events: Paterson gets up a little after 6 a.m. and goes to work as a bus driver, drives around until knock-off time, then...

FrancofoniaIt seems slightly off-kilter to term a film by Alexander Sokurov, everyone’s favorite Slavophile modernist, a “mash-up.” Yet Francofonia, which opened the Museum of the Moving Image’s fifth annual First Look festival, brings to mind an idiosyncratic synthesis of motifs derived from Godard’s Histoire(s) du cinéma and Volker Schlöndorff’s Diplomacy. With more than a passing resemblance to the ever-popular fiction/non-fiction hybrid film, Sokurov’s rambling meditation on the aesthetic imperatives of authoritarianism was an appropriate choice to open a festival that specializes in experimental hybridism. New work by such disparate filmmakers as Dominic Gagnon, Léa Rinaldi, and Louis Skorecki traverses generic boundaries—even though, for seasoned festival audiences, this sort of genre-bending is now more of a routine occurrence than a transgressive event. First Look’s desire to showcase subversive hybridity was evident in Quebecois filmmaker Dominic Gagnon’s double bill—Pieces and Love...

Let's get one thing straight before we begin. Bill Murray is the King. There are better actors. There are people who have better filmographies. There are even funnier people, although not many. But Bill Murray is, all things, considered, the King. I've dedicated much of the last 45 years working this out scientifically, and I am prepared to finally share the findings with you, free of charge, right here at HitFix. Ostensibly, we're doing this because of this weekend's release of "Rock The Kasbah," but that's just an excuse. The truth is that it's important that we rank all 55 of Bill Murray's film performances, with a special focus on the top 25. We are not including his television work here. There are films on this list we have not seen, but not many. We decided to leave those films unranked, so here is that list: Unranked "The Hat Act" "Pass The Buck: Expo '74...

Cinematographer Christopher Doyle is set to take the director’s chair once again, this time for a documentary.

Titled Hong Kong Trilogy: Preschooled Preoccupied Preposterous, the film is Doyle’s third full-length movie as a director, and first since 2008. Doyle writes and shoots the film as well.

The film’s synopsis is as follows:

Renowned cinematographer and artist Christopher Doyle celebrates Hong Kong and its people with this documentary-fiction hybrid that focuses on Hong Kong residents in their childhood, youth, and old age.

Doyle is most famous for his cinematography work, having notably worked with Wong Kar Wai on numerous projects, including Chungking Express, In The Mood For Love, and 2046. He also shot the 1998 Psycho along with Lady in the Water and The Limits of Control. The trailer itself highlights his skill as a cinematographer, while providing a glimpse at the kinds of stories that will be presented in the...

"Did you know that Bill Murray doesn't have an agent? He just has an 800 number and answering machine." I remember exactly where I was when I heard about how Murray manages his career, just like some people remember when they first heard about Keith Richards snorting his dead dad's ashes. It's one of the best pieces of Bill Murray folklore, right up there with how he's always crashing house parties. But it hasn't helped his work much. Just look at his recent filmography. If you forget about his work with Wes Anderson and flukes like Get Low and Zombieland, it's been a pretty dire stretch since 2005's Broken Flowers — The Lost City, Garfield: A Tail of Two Kitties, City of Ember, The Limits of Control, Passion Play, Hyde Park on the Hudson, A Glimpse Inside the Mind of Charles Swan III, The Monuments Men, and his latest, the treacly dramedy St. Vincent,...

A little over six years after the fact, it's striking to revisit Tilda Swinton's reaction to winning the Best Supporting Actress Oscar for "Michael Clayton." At the time, fans were jubilant and the audience was amused by her blunt "Oh, no" reaction and on-stage decision to give the statue to her agent. Watching the clip today there is a look of almost sheer horror on her face as her name is read and as she walks to the stage. This wasn't something Swinton strived for. She's an artist. Winning Oscars wasn't part of the plan if there ever was one. In the years since, however, Swinton has clearly found a way to balance her artistic interests with films that can find some legs in the global Hollywood movie-making machine. It hasn't been easy, though. She segued from David Fincher's "The Curious Case of Benjamin Button" to Jim Jarmusch...

Exclusive: Independent, Fernando Sulichin breathe life into Stooges doc, the director’s next film.

Jim Jarmusch’s documentary on The Stooges has found new backing from Fernando Sulichin’s New Element Global and a sales home in UK outfit Independent, which is launching the project in Cannes.

ICM Partners, who represent Jarmusch will handle North American rights. Carter Logan (Only Lovers Left Alive, The Limits of Control) produces.

The long-term passion project for the Only Lovers Left Alive director is already in production and features interviews with Stooges frontman Iggy Pop.

The currently untitled film will present the context of the iconic band’s emergence musically and culturally, and relate their adventures and misadventures. Additional contributors are being kept under wraps.

Financier Sulichin, who recently produced Oliver Stone’s Untold History of the United States, has also exceed features including Spring Breakers and The Killer Inside Me.

Jarmusch commented: “I like to think of our film as...

Exclusive: Independent, Fernando Sulichin breathe life into Stooges doc, the director’s next film.

Jim Jarmusch’s documentary on The Stooges has found new backing from Fernando Sulichin’s New Element Global and a sales home in UK outfit Independent, which is launching the project in Cannes.

ICM Partners, who represent Jarmusch will handle North American rights. Carter Logan (Only Lovers Left Alive, The Limits of Control) produces.

The long-term passion project for the Only Lovers Left Alive director is already in production and features interviews with Stooges frontman Iggy Pop.

The currently untitled film will present the context of the iconic band’s emergence musically and culturally, and relate their adventures and misadventures. Additional contributors are being kept under wraps.

Financier Sulichin, who recently produced Oliver Stone’s Untold History of the United States, has also exceed features including Spring Breakers and The Killer Inside Me.

Jarmusch commented: “I like to think of our film as...

Exclusive: Independent, Fernando Sulichin breathe life into Stooges doc, the director’s next film.

Jim Jarmusch’s documentary on The Stooges has found new backing from Fernando Sulichin’s New Element Global and a sales home in UK outfit Independent, which is launching the project in Cannes.

ICM Partners, who represent Jarmusch will handle North American rights. Carter Logan (Only Lovers Left Alive, The Limits of Control) produces.

The long-term passion project for the Only Lovers Left Alive director is already in production and features interviews with Stooges frontman Iggy Pop.

The currently untitled film will present the context of the iconic band’s emergence musically and culturally, and relate their adventures and misadventures. Additional contributors are being kept under wraps.

Financier Sulichin, who recently produced Oliver Stone’s Untold History of the United States, has also exceed features including Spring Breakers and The Killer Inside Me.

Jarmusch commented: “I like to think of our film as...

Exclusive: Independent, Fernando Sulichin breathe life into Stooges doc, the director’s next film.

Jim Jarmusch’s documentary on The Stooges has found new backing from Fernando Sulichin’s New Element Global and a sales home in UK outfit Independent, which is launching the project in Cannes.

ICM Partners, who represent Jarmusch will handle North American rights. Carter Logan (Only Lovers Left Alive, The Limits of Control) produces.

The long-term passion project for the Only Lovers Left Alive director is already in production and features interviews with Stooges frontman Iggy Pop.

The currently untitled film will present the context of the iconic band’s emergence musically and culturally, and relate their adventures and misadventures. Additional contributors are being kept under wraps.

Financier Sulichin, who recently produced Oliver Stone’s Untold History of the United States, has also exceed features including Spring Breakers and The Killer Inside Me.

Jarmusch commented: “I like to think of our film as...

Willem Dafoe and Gael Garcia Bernal also among those called up for jury service at the 67th Cannes Film Festival.

The Cannes Film Festival has named the jury for its 67th edition, comprising eight world cinema names from China, Korea, Denmark, Iran, the Us, France and Mexico.

Jane Campion, the New Zealand filmmaker who won the Palme d’or for The Piano, was previously announced as the president of the jury, which will include five women and four men.

Cannes 2014: films

Those selected include Nicolas Winding Refn, the Danish director, screenwriter and producer who won Best Direction at Cannes in 2011 with Drive. His most recent film, Only God Forgives, played in Competition at Cannes last year.

Also chosen is Sofia Coppola, the Us director and screenwriter whose debut The Virgin Suicides was selected for the Directors’ Fortnight at Cannes in 1999. Coppola, who won a screenwriting Oscar for Lost in Translation, made it into...

Starring Tom Hiddleston and Tilda Swinton as two vampires, Jim Jarmusch's film arrives on Australian screens this week. Get your fangs into the Guardian's coverage so far

Almost a year after it debuted at the Cannes film festival, where Peter Bradshaw gave it a middling review, describing its romantic name-dropping it as "studenty", Jim Jarmusch's "crypto-vampire love story" Only Lovers Left Alive arrives on Australian screens. Starring Tom Hiddleston and Tilda Swinton as two vampires engaged in a centuries-old love affair, it took Jarmusch seven years to make after his American backers dropped out. Ironically, his reason for making it in the first place was because he'd heard that vampire films equalled big box office.

She has an ability to prioritise what's really important in life. Once I was listening to her, I think we were at lunch with Patti Smith, and I thought: 'Oh boy, if all culture breaks down,...

Jim Jarmusch's very well reviewed "Only Lovers Left Alive" led a considerable batch of indie openers at the box office this weekend. The story of Adam (Tom Hiddleston) and Eve (Tilda Swinton), two retro cool vampires, "Only Lovers" grossed $96,976 from 4 theaters for a potent $24,244 average. The debut sits in between the performances of the director's last two films (both of which also featured Swinton). Jarmusch's last film -- 2009's "The Limits of Control" -- averaged $18,607 from 3 theaters, while 2005's "Broken Flowers" took in a very strong $28,904 per its 27 opening screens (before going on to gross $13,744,960 and become Jarmusch's top overalll grosser by far). Either way, the numbers for "Lovers" are promising for distributor Sony Pictures Classics, who will expand the film next weekend. Not fairing quite as well was The Weinstein Company's release of "The Railway Man." The film took in $64,506 from 4 theaters, which made for a $16,127 per-theater-average. Directed by.

Loners and outcasts have no greater cinematic patron saint than Jim Jarmusch, the fiercely independent writer-director who's spent over three decades chronicling urban fringe-dwellers, road trippers, rockabilly tourists, Zen hitmen and, now, vampires. The 60-year-old filmmaker's latest, Only Lovers Left Alive, centers on a centuries-old couple (played by Tilda Swinton and Tom Hiddleston) who like their Type O served neat, though its a far cry from the recent wave of vampire chic; it's really a languorous romance in which two lovers struggle with immortality-engendered ennui. It may be Jarmusch's first foray into horror films,...

Eternity and a Day: Jim Jarmusch’s Vampire Flick Is Typically Jarmuschian

After his droll yet audience-friendly quirkfest Broken Flowers took home the Grand Prix at Cannes ’05 hit, Jim Jarmusch returns to the Croisette (after his sharply divisive The Limits of Control eluded the festival circuit) with another quintessentially Jarmuschian affair – this time about vampires. Typically shapeless, loquacious, and deeply concerned with artifacts of yester-generations’ hip kids (viz., wicked guitars and an eclectic record collection), this notably un-horrific take on the genre comes on the heels of Amy Heckerling’s under-appreciated comedy Vamps to form a unique diptych of films more concerned with certain basic ideas of immortality than in generating jump scares.

Featuring a pair of rather sophisticated undead named Adam and Eve (Tim Hiddleston and Tilda Swinton), the Detroit-set Only Lovers Left Alive is propelled, ever so deliberately, by the two leads’ recollections and souvenirs, their personal...

From the very first opening titles, written in a Germanic font that immediately conjures everything from “Triumph of the Will” to images of big-busted ladies screaming in campy close-up in 1970s cheapie horrors (it may be the only time in Cannes that a film got a big laugh for a typeface) it’s perfectly clear that the Jim Jarmusch in whose company we’re about to spend a couple of hours is not the wilfully obscure surrealist of “The Limits of Control,” nor the considered, melancholic philosopher behind “Dead Man,” nor even the oddball ragtag troubadour of “Down By Law." In fact, “Only Lovers Left Alive,” Jarmusch’s take on the vampire myth starring recent muse Tilda Swinton and Tom “fast becoming everyone’s favorite actor” Hiddleston, finds the maverick filmmaker in playful, referential and mischievous form with hugely enjoyable, if not exactly weighty or important, results. It’s an offbeat,...

Editor’s note: Our review of Only Lovers Left Alive originally ran during this year’s SXSW, but we’re re-posting it as the film opens theatrically. Director Jim Jarmusch‘s (Broken Flowers, Dead Man) films have never been for everyone. They’re experimental in a variety of ways, but, for good or bad, they are always Jim Jarmusch films. However, sometimes too much Jarmuschiness can agitate even his own fans. His last film, The Limits of Control, never shied away from testing its audience’s patience in part because its awareness of itself was far too often distancing. That’s not the case with his latest film, Only Lovers Left Alive, a movie that maintains its focus, emotional investment, and laughs from start to finish. Adam (Tom Hiddleston) and Eve (Tilda Swinton) have been lovers for hundreds of years. They’re true romantics, but they are on opposite sides of the world. Eve...

It’s hard to know whether Jim Jarmusch means for his latest film to be a rejoinder to the spate of vampire movies that audiences have embraced or just a highbrow addition to its ranks, but Only Lovers Left Alive is by far one of the most thoughtful movies about the lives of the undead ever made. That said, it’s not one of the most original, which is why it becomes exponentially less interesting the more it decides to be about something.

Tom Hiddleston (Thor: The Dark World) plays Adam to Tilda Swinton’s (The Grand Budapest Hotel) Eve, a pair of vampires who live on separate continents – he in Detroit, she in Tangier – and have been soul mates for centuries. Decided opposites, he makes idiosyncratic rock & roll that has earned him both money and fame, perhaps in part because of his melancholy reclusiveness, while she shuffles through the streets unafraid,...