A depressed musician reunites with his lover. However, their romance, already played over several centuries, is disrupted by the arrival of her uncontrollable younger sister.
Jarmusch's vampire film won strong approval from critics who found its glacial pace a feature rather than a flaw — a deliberately languid mood piece built around two immortals in love with music, literature, and each other. Hiddleston and Swinton's central performances drew near-universal admiration, though a minority of critics felt the studied coolness kept the film at arm's length, more a pose than an emotional experience. Several reviewers ranked it among Jarmusch's finest work since Dead Man.
“the perennial downtown filmmaker's best work in many years, probably since 1995's Dead Man, with which it shares a sense of quiet, heady, perilous passage.”
Todd McCarthy·The Hollywood Reporter
“In the time-honored Jarmuschian fashion, the few things that happen in Only Lovers Left Alive happen very slowly, but the dialogue is always gloomily amusing, and Swinton and Hiddleston's delivery of the gags is as cold and crisp as footstep in fresh snow.”
Robbie Collin·The Daily Telegraph
“Hiddleston and Swinton play their characters not as blasé hipsters but, rather, deeply reflective, almost regretful old souls who seem to have decided that love is about the only thing you can count on.”
Tim Grierson·Paste
“a visually poetic love story with a wry, jaded sense of humor about finding reasons to wake up every night.”
Scott A. Gray·Exclaim!
“a droll, classy piece of cinematic dandyism that makes the Twilight cycle redundant in one exquisitely languid stroke.”
The Observer
Drama, Romance, Fantasy
A depressed musician reunites with his lover. However, their romance, already played over several centuries, is disrupted by the arrival of her uncontrollable younger sister.
Jarmusch's vampire film won strong approval from critics who found its glacial pace a feature rather than a flaw — a deliberately languid mood piece built around two immortals in love with music, literature, and each other. Hiddleston and Swinton's central performances drew near-universal admiration, though a minority of critics felt the studied coolness kept the film at arm's length, more a pose than an emotional experience. Several reviewers ranked it among Jarmusch's finest work since Dead Man.
“the perennial downtown filmmaker's best work in many years, probably since 1995's Dead Man, with which it shares a sense of quiet, heady, perilous passage.”
Todd McCarthy·The Hollywood Reporter
“In the time-honored Jarmuschian fashion, the few things that happen in Only Lovers Left Alive happen very slowly, but the dialogue is always gloomily amusing, and Swinton and Hiddleston's delivery of the gags is as cold and crisp as footstep in fresh snow.”
Robbie Collin·The Daily Telegraph
“Hiddleston and Swinton play their characters not as blasé hipsters but, rather, deeply reflective, almost regretful old souls who seem to have decided that love is about the only thing you can count on.”
Tim Grierson·Paste
“a visually poetic love story with a wry, jaded sense of humor about finding reasons to wake up every night.”
Scott A. Gray·Exclaim!
“a droll, classy piece of cinematic dandyism that makes the Twilight cycle redundant in one exquisitely languid stroke.”
The Observer
Drama, Romance, Fantasy
Stream