On the run after murdering a man, accountant William Blake encounters a strange Native American man named Nobody who prepares him for his journey into the spiritual world.
While decidedly not for all tastes, Dead Man marks an alluring change of pace for writer-director Jim Jarmusch that demonstrates an assured command of challenging material.
A grizzled thug and his gang head to an island retreat with a haul of 250 kilograms of gold bullion to lay low; however, a bohemian writer, his muse, and a pair of gendarmes further complicate things, as allegiances are put to the test.
Let the Corpses Tan challenges the audience's expectations -- and delivers a singularly stylish, unforgettably unique viewing experience in the bargain.
One of the defining features of Acid Westerns is the reversal of the “road to redemption” trope of classic Westerns. It is cathartic in these *unprecedented times* as we ditch possible redemption, leave any sort of normal, and descend into chaos; to watch movies that follow a similar hallucinogenic freefall. Dead Man is a classic and in typical Jarmusch fashion provides a heady and concentrated dose of the most pronounced elements of the genre. If it errs close to taking itself too seriously, the ensemble cast balances it well. It also has a Neil Young soundtrack!? If Dead Man makes you melt into your couch, Let The Corpses Tan will rocket you back out. Cattet and Forzani distil Acid Western with Giallo into a lofty feast for the senses. If only our current descent was shot in beautiful Corsica and featured a cast of French pornstars. Alas!