English | Áúëãàðñêè | Contact us 
28.02. - 20:00,
Cinema House

15.03. - 20:30,

Director:  Jim Jarmusch
Cinematography:  Tom DiCillo
Screenplay:  Jim Jarmusch
Producer:  Sarah Driver
Music:  John Lurie
Editor(s):  Jim Jarmusch , Melody London
Cast:  John Lurie , Eszter Balint , Richard Edson
Production:  Cinesthesia Productions/Grokenberger Film Produktion
Broken Flowers
Coffee and Cigarettes
Dead Man
Down By Law
Ghost Dog: The Way of the Samurai
Mystery Train
Night on Earth
Permanent Vacation
Stranger than Paradise
Year of the Horse
Stranger than Paradise
Stranger than Paradise
Stranger than Paradise
USA-West Germany , 1984, 89 min, black & white
Awards:  Cannes 1984 - "Golden Camera" - Award for debut; Locarno ’84 – Grand Prix “Golden Leopard”; “Sundance” ’85 – Special Jury Prize Award of the NSFC for best film

The theme song of Jim Jarmusch’s Stranger Than Paradise is Screamin’ Jay Hawkins’ recording of ‘I Put a Spell on You’. Perhaps it is the power of suggestion, but that is exactly what this fragile, diffident film seems to have done to its audiences. What other explanation could there be for the way it instantly transformed the image of the American independent filmmaking from idealistic but artistically naive to subversive and ultrahip? Made on a miniscule budget and with grainy black-and-white film stock left over from a Wim Wenders film, Stranger Than Paradise is rooted in the less-is-more aesthetic that defined punk rock (Jarmusch was a keyboardist of the post-punk group, The Del-Byzanteens) and New York’s underground film and theater scene in the 70s and early 80s.
The governing consciousness of the film is Willie, a permanently depressed, two-bit gambler, who spends most of his time hanging out in his tiny, sparsely furnished apartment, either on his own or with his sad-sack friend Eddie. Out of the blue, Willie’s teenage cousin Eva arrives from Hungary to visit for a few days before going on to Cleveland to live with their aunt. Eva’s presence stirs some faint memory of familial warmth in Willie and, for a few seconds after she leaves, he feels his loneliness more acutely. A year later, Willie and Eddie make some fast money cheating at poker and, to be safe, they decide to get out of town for a while. They drive to Cleveland to visit Eva, more out of default than desire – she is the only person they know.
A film that is figuratively and literally about missed connections, Stranger Than Paradise closes with Willie, Eddie, and Eva headed, by accident, in separate directions. For someone as shut down as Willie, there is no more apt fate than an open ending.

Jim Jarmusch
With his trademark shock of white hair and ultra-cool rock star persona, Jim Jarmusch is the archetypal auteur of American independent film. Steadfastly resisting the sirens of Hollywood, Jarmusch has fashioned stylish, worldly, and thoroughly hip movies that have been the toast of the international film circuit.
Born on January 22, 1953, in Akron, OH, Jarmusch was the son of a former film critic for the Akron Beacon Journal. As a child, he spent much of his time watching B-movie triple features. After graduating from high school in 1971, he ended up in New York before venturing to Paris one summer on an exchange program. He loved the place so much that he stayed there for a year, soaking up French culture, literature, and particularly films, spending much of his time going to the cinématheque instead of to classes. At that time, the hallowed French New Wave movement was still a recent memory and such luminaries as François Truffaut, Claude Chabrol, and Jean-Luc Godard were still regularly making movies. Upon his return to New York, Jarmusch transferred to Columbia University, where, though he eventually received a degree in English literature, his love of film continued to inspire him. With no film experience, he was accepted into New York University's Tisch School of the Arts and soon found himself a teaching assistant to legendary maverick filmmaker Nicholas Ray. Ray helped him get funding for his thesis project, Permanent Vacation (1980). Though the film was later released to critical acclaim, his professors were underwhelmed by his final project and Jarmusch never got a degree from N.Y.U.
The stamp of Jarmusch is his tendency to a gently absurdist, understated comedy, which affectionately punctures the cool, hip pretensions and delusions of his self-consciously laconic loners. The compositions are uncluttered, often static and oddly formal, stressing the essential solitude of characters seemingly obsessed with self-definition. The sparing dialogue, generally minimalist performances and a preference for long takes evoke lives plagued by problems of communication, misunderstanding, rootlessness and inertia. At the same time, Jarmusch’s elliptical, dedramatised, episodic narrative style is symptomatic of his restlessly experimental interest in the method and structure of cinematic storytelling. Crucially, however, this interest in formalism is balanced by subtle wit, the warmth he clearly feels for his characters and a bemused, intelligent interest in the unfamiliar backroads of American life (the underrated Dead Man was a decidedly different western), so that he remains one of the most accessible, original and influential of that country’s independent film-makers.
1980  Permanent Vacation
1984  Stranger Than Paradise
1986  Coffee and Cigarettes
1986  Down by Law
1989  Coffee and Cigarettes II
1989  Mystery Train
1991  Night on Earth
1993  Coffee and Cigarettes III
1995  Dead Man
1997  Year of the Horse
1999  Ghost Dog: The Way of the Samurai
2002  Ten Minutes Older: The Trumpet
2003  Coffee and Cigarettes
2005  Broken Flowers
© 2001 - 2009 Production Company "Art Fest" Idea & Research - created by