Njabs Phungula’s review published on Letterboxd:
What makes Travis' journey so profound, is the realization that his journey is not primarily about working to reconnect himself with the real world, but to reconnect two broken souls. In doing so, he finds both himself and redemption. The genius of Harry Dean Stanton's performance lies in his ability to allow the character to take over. The physical effort seems almost nonexistent but the emotional commitment is real, and it shows. It's almost as though he takes the back seat in much the same way that Travis sets aside his own personal goals for others.
More poignant still, is Carson, whose innocence at a crucial moment when Travis' hesitancy threatens to get the better of him, sets Travis on the right path to redemption and reconciliation.
Wim Wender's experience as a photographer must certainly have played a role in the film's tendency to linger on shots that promote the landscape, no matter how rustic and unconventional. After all, a good photographer knows how to find beauty where none is thought to exist. Couple this with Robby Müller's ability to set the screen on fire with his impressively-lit night sequences, and you've got yourself a visual splendor. The sight of the green neon lights and the blood-red glow of the 'club' is almost impossible to forget, and that is a great thing because it's quite a sight.
Paris, Texas is a simple story about a man with a complicated and troubled past and an uncertain future but it is among the most beautiful creations that cinema has breathed into existence.