Il ne suffit pas de consteller le film de propos abscons et sibyllins, en récurrents leitmotivs ibérico-linguistiques, de le parsemer de répétitifs agissements incongrus et caféïnés, d'arborer en préambule un galvaudé vers rimbaldien, de finalement basculer dans la virtualité subjective ou la foutaise cérébrale, selon la perception du moment, pour créer une oeuvre artistique. www.cinefiches.com
The tension between objectivity and subjectivity here seem to be represented by a conflict between commerce and art. We may experience the latter subjectively but our enjoyment may only allow for these symbols to be hijacked for exploitation by business. The symbols of 'cool' used to sell us fraught colonial images which only controlled art may unravel. A methodical journey into a systemised reality.
**** qualified: This is probably one of the least even Jarmusches I've seen -- a noble experiment that goes oddly wrong mostly near the beginning, where the music (never the film's strongest suit) is really overbearing and the MTV-montage-slo-mo effects stick out and dissipate the energy (presumably the opposite of the effect intended). But the ultimately laconic existential(ist) beauty truly does transcend.
Jarmusch non si esprime a riguardo, ma che sia un film "di pure sensazioni" atto a smontare il "controllo" dello spettatore o che sia una metafora della ricerca del vero controllo, ovvero l'eliminazione di ogni nostro esercizio di controllo, risulta comunque pretenzioso e a volte fastidioso. Controlla sto cazzo
The most enigmatic and arbitrary film I've seen by Jarmusch. Following the slow sort of pace that Jarmusch is known for but without the magic that his characters usually have at engrossing an audience. I found the film very frustrating and it left many questions unanswered. I gave it three stars for Christopher Doyle's beautiful cinematography.