Director of American cinema, born January 22, 1953 in Akron.
Within the label that encompasses the so-called American independent cinema, Jim Jarmusch leads a series of directors working in the periphery of the traditional industry. With a very peculiar narrative style, and therefore easily recognizable, it is the greatest creative exponent in cinema of the minimalist school, one of whose characteristics is the criss-cross of small narrative units as they are interrelated and develop just taking new directions. Interested mostly in telling stories that happen to ordinary people, and making notable efforts to use the expressive value of rests, squeeze to the penny a few low budgets in order to get economic profitability of their proposals without integrated into most commercial distribution networks. These have been some of the pivots on which has cemented its undisputed international success, which has led him to conquer relevant awards in film festivals such as Cannes or have a large legion of fans around the world.
Its passage by the Columbia College of the New York University did not presage, however, that success. Jarmusch, showing an innate distrust of academic institutions, enrolled in this school specializes in teaching of the various offices of the film industry, which allowed him, basically meet the filmmaker Nicholas Ray, who would become his mentor to appoint him personal assistant for a year. This legendary director learned that the actors must act in a natural way to become credible people, something that Jarmusch applied on numerous occasions by mixing professional interpreters with fans, as the musicians Chris Parker on permanent vacation and John Lurie in strangers in paradise. Sample of unpayable debt owed to his master is, as developed in Director, would agree to serve as production assistant in the autobiographical film by Nicholas Ray and Wim Wenders Relámpago on water.
Before in the filmmaking, Jim Jarmusch worked various trades as sound technician (Underground U.S.A.) or director of photography (you are not I; Sleepwalk). Until the permanent holiday film, which chronicles the life of an individual apparently normal for two days and a half, would put him on the starting grid as maximum candidate to become head of American cinematic modernity.
His next film, strangers in paradise, which was based on a homonymous short film shot by himself two years ago, made it clear, if remaining doubts, the essential features of what will be its recurrent style: linguistic and cultural misunderstandings, lack of dialogue, minimal movements of camera, stripping of Visual tricks and very meditated narrative structures. Shot in black and white, strangers in Paradise is articulated in three segments, to which more schematic: a young American woman receives surprise visit of a Hungarian premium; later they will visit it to a common uncle's House; together with a friend to bet on Greyhound races are going to Florida. Each of these easy segments, in turn, is fragmentaba in a sort of static photographs which, by way of family album, left spaces for imagination and signals so that each spectator from rebuilding the global history.
About this hiperestructurada line it would load with Mistery Train, inspired by a work of the novelist William Faulkner, where were several parallel stories, with occasional intersections, which passed in the same city (Memphis) and hours of the day. Or in night on Earth, five simultaneous stories that take place in different parts of the world such as New York and Helsinki.
Authentic discoverer of the Italian comic Roberto Benigni, made him protagonist of low weight of law and night on Earth. But next to this remarkable humorous vein flowing through all his films there are special for music: singers as Iggy Pop, Tom Waits and Neil Young appear in his films as sonorous counterpoint to a delicate and languid visual rhythm. Hence also that isn't strange that Jim Jarmusch has directed musical portrayals as Year of the Horse, filmed in domestic format Super 8 mm and that picked up during a month what was Neil Young tour.
Dead man, an atypical western starring Johnny Depp, was the first stumbled seriously in his career, has not taken to go with Ghost Dog, portrait of a third gangster linked by unbreakable ties of loyalty to the head of the clan. In Ghost Dog again appear the constants of the Jarmusch film, since linguistic isolation until a characteristic sense of humor, in a new twist to a style that has even made famous Gallery of funny short films included under the addictive title of coffee and cigarettes. So much so that in 2004 it presented a new heading with the same name, coffee and cigarettes, which brings together eleven episodes in which your usual companions, Waits, Benigni or Pop, along with others such as Bill Murray, sit facing the camera to speak, drink coffee and smoke cigarettes.
In 2005 he presented broken flowers, a curious review of the myth of Don Juan starring own Murray and stars such as Sharon Stone and Jessica Lange, who won a resounding critical and box office success.
1982: Strangers in Paradise (part one: the new world). 1986: coffee and cigarrillos.1989: coffee and cigarettes (Memphis Version). 1993: coffee and cigarettes (somewhere in California).
1980: Holiday permanentes.1984: strangers in the paraiso.1986: under the weight of the ley.1989: Mystery Train.1990: Red, Hot & Blue: a Tribute to Cole Porter to Benefit Aids [code].1992: Night at the tierra.1995: Dead man.1998: Year of the Horse.1999: Ghost Dog.2002: Ten minutes older: the trumpet.2004: coffee and cigarettes. 2005: Broken flowers.
1979: network Italy.1983: fräulein Berlin; American Autobahn.1986: Direct to the infierno.1987: Helsinki-Naples. 1989: Leningrad Cowboys Go America.1990: Golden boat.1992: In the soup.1994: Iron Horsemen; Tigrero, a Film That Was Never Made.1995: Blue in the Face.1996: Sling Blade.1997: Divine Trash. R.I.P. Rest in Pieces: A Portrait of Joe Coleman.
1980: Lightning over water.
1980: Underground U.S.A.1981: Only you.1982: Burroughs.
1981: You are not yo.1986: Sleepwalk.