Jim Jarmusch is a unique dude, quite the eccentric personality. He imbues his vampire alter-ego, Adam, with his own music obsession. The vampire is a hermit, locked in his own isolated recording studio in the ruins of Detroit. Utilizing a glacial pace, this vampire tale is full of emotion more so than plot or action. It’s an emo, self-indulgent escape from humanity: the zombies ruining the world. They’re also ruining their own blood with contamination.
This general malaise suffocates Adam, who has become suicidal. Instantly his wife, Eve, picks up on the cues, and she flies across the world to sort his ass out. Eve, the survivor, arms herself with centuries of literature to knock heads with Adam and show him the light at the end of the tunnel. That’s her mission, and it isn’t an easy task.
I’m a sucker for moody vampires who spout big words, and so I liked Lovers pretty well. It also has the fantabulous Mia Wasikowska, whom I’ve been looking forward to seeing as a wild, reckless vampiress for some time. I wasn’t entirely sold on Mia’s performance, however, but it was 90% there.
This film has that deep, brooding, meticulous style that lacks the visceral movement of Hollywood. Most shots are stationary, tripods or slow pushes. It’s contemplative, as the vampires discuss the fall of humanity from its own doing. The story parallels the chaos and destruction we see around, and the two blood suckers are like narrators of the slowly unfolding apocalypse.
It reminded me of Jarmusch’s Dead Man, which featured a similar quirky style in the editing. They’re both heavy on music: droning, reverbed guitars particularly. Both are somewhat poetic and philosophical. Both are slow and steady. It’s a film for those who like indie contemplative stories.