One of Jarmusch’s best and most divisive films has been outfitted with a beautiful and imaginative Criterion package.
An intensely intelligent look at American history and a blueprint for how to (un)make it, from one of our country’s finest directors.
The most glaring problem with the film is that it’s populated with anonymously attractive people from the L.A. talent pool.
Like most great westerns, Dead Man holds the American West and its (white) inhabitants up to close scrutiny.