“Stranger Than Paradise” is an immigrant experience film without the most American aspect of assimilation; striving.
Jim Jarmusch‘a second feature is as minimalist in presentation as it is in ideology. It is peak cool, because it wants for nothing. Why desire, when the entire world blends into the same four walls and door?
Sharing heritage with Fellini’s “I Vitelloni,” Jarmusch dabbles in the art of youthful inaction during “Stranger.”
Following two young men and a cousin recently arrived from Hungary, Jarmusch‘s film, while shot across New Jersey, Florida, and his native Ohio, is late stage Sovietism cooked up American-style.
With snowy vistas that fade into blankness, and Spartan motel rooms, “Stranger” - a series of single shot scenes, forces the…