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05.03. - 21:00,
Cinema House

19.03. - 20:30,

Director:  Jim Jarmusch
Cinematography:  Frederick Elmes
Music:  performances by Mulatu Astatke
Producers:  John Kilik and Stacey Smith
Screenplay:  Jim Jarmusch , inspired by an idea of Bill Raden and Sara Driver
Cast:  Bill Murray , Jeffrey Wright , Sharon Stone , Frances Conroy , Jessica Lange , Tilda Swinton , Julie Delpy , Chloe Sevigny
Production:  Five Roses
International distribution:  Focus Features
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
Broken Flowers
Broken Flowers
Broken Flowers
USA , 2005, 107 min, color
Awards:  Cannes 2005 - "Grand Prize of the Jury"

Bill Murray enters a new phase of his minimalist period by teaming up with Jim Jarmusch to play the man who wasn’t there. At first glance, Murray’s Don Johnston resembles nothing but a hollow shell. The impetus for rousing Don is an unsigned letter, typed on pink paper, in which a former lover announces that she had given birth to Don’s son nineteen years before. The news doesn’t seem to faze Don, but his curious friend Winston goads him into providing the names of the women he knew during that time period. It’s Winston who googles the whereabouts of the suspects and sends Don off on a road trip through his youth. The rigidity of that lock-step structure is quickly dispelled by the light touch of Jarmusch’s direction and the stunning performances by Murray and four gifted actresses.
Broken Flowers may be too low-key for laugh junkies, but Jarmusch fills his sharply observed comedy with wonderful mischief. The mix of humor and heartbreak brings out the best in Murray, who is essentially playing a man caught in the act of rediscovering himself.”

Peter Travers, „Rolling Stone”

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
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