Paris, Texas (1984)
Country: GER/FR/GB/US
Technical: col 148m
Director: Wim Wenders
Cast: Harry Dean Stanton, Dean Stockwell, Aurore Clement, Nastassja Kinski
Synopsis:
Having dropped out of society for four years, a man walks zombie-like out of the desert to reconnect with his brother and young son. Together they go in search of the boy's mother, amid the fleshpots of the big city.
Review:
Flashing its evocative, ironic title and accompanying photograph like a postmodern striptease artist before the final revelation of its significance, Shepard's screenplay is stronger on suggestion than dialogue, for sure. Wenders is very much in his element here and, as in Kings of the Road, focuses his attention on the body language of his cast and the settings in which they find themselves, which through European eyes come at us as if brand new out of the debris of 1970s cinema.
Country: GER/FR/GB/US
Technical: col 148m
Director: Wim Wenders
Cast: Harry Dean Stanton, Dean Stockwell, Aurore Clement, Nastassja Kinski
Synopsis:
Having dropped out of society for four years, a man walks zombie-like out of the desert to reconnect with his brother and young son. Together they go in search of the boy's mother, amid the fleshpots of the big city.
Review:
Flashing its evocative, ironic title and accompanying photograph like a postmodern striptease artist before the final revelation of its significance, Shepard's screenplay is stronger on suggestion than dialogue, for sure. Wenders is very much in his element here and, as in Kings of the Road, focuses his attention on the body language of his cast and the settings in which they find themselves, which through European eyes come at us as if brand new out of the debris of 1970s cinema.
Country: GER/FR/GB/US
Technical: col 148m
Director: Wim Wenders
Cast: Harry Dean Stanton, Dean Stockwell, Aurore Clement, Nastassja Kinski
Synopsis:
Having dropped out of society for four years, a man walks zombie-like out of the desert to reconnect with his brother and young son. Together they go in search of the boy's mother, amid the fleshpots of the big city.
Review:
Flashing its evocative, ironic title and accompanying photograph like a postmodern striptease artist before the final revelation of its significance, Shepard's screenplay is stronger on suggestion than dialogue, for sure. Wenders is very much in his element here and, as in Kings of the Road, focuses his attention on the body language of his cast and the settings in which they find themselves, which through European eyes come at us as if brand new out of the debris of 1970s cinema.