Those Hollywood and domestic follow-up dog directors who are accustomed to rambling can try this movie. Paterson's week in Paterson's usual running account was very interesting to be photographed by the details that Jarmusch seemed to have at his fingertips. The coordination of editing, camera movement and music all reflect Lao Jia's maverick that has never been cut. Just like the so-called poetry of the bus driver in the film, which is loose and ridiculous but pure and lovely, the director did not try to dilute the "boring" feeling of the script. Instead, he chose to let "boring" run its course, carrying the audience's curiosity all the way to the end of "boring". In the end, it only talks about a bus driver who loves to write limericks in his notebook, living a happy and boring life with his whimsical wife, and he just wants to escape from modern civilization and waste his life in the old days as always. Such a story that comes from life but is nothing higher than life. Maybe this is why the film has such a strong sense of substitution. I think of the few "little poems" that I occasionally wrote, depicting the heart that I don't know very well with old-fashioned brushstrokes; or like his The lover suddenly and determinedly decides to learn to play an instrument and then do baking, French, and fitness. The ingeniousness of the film lies in the countless new ideas, the ubiquitous twins, all kinds of seemingly magical but common coincidences, slightly exaggerated but natural encounters... Another example is the driver surnamed Driver. The actor plays a Driver…. The last time I felt so comfortable and happy after watching the film was "Brooklyn" the year before. 9 points! Jarmusch, who is full of aura, may be a miracle!
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