In a world where the vampire genre has been plagued by some more ‘sparkling’ additions, Jim Jarmusch arrives to rescue us all from the suffocating teen infatuations that we have all had to endure. Only Lovers Left Alive is not content to adhere to normal standards and provides a uniquely artistic cinematic experience, with Jarmusch showing that he is a certain flair for the indie aesthetic that he has created.
It’s true that the film benefits greatly from the leads’ performances, with Hiddleston managing to capture the overall dark aura of Adam, who feels outdated in his current world, as he adorns his walls with vintage records and relics from golden eras gone. Swinton is not one to be cast aside and shines as Eve, a distinctly odd character with a passion for literature (that she literally carries everywhere) and her dearly beloved Adam; her calming aura soothing his tormented persona. It sounds like the characters could be difficult to endure, with their typical hipster mannerisms and clichéd styling (all vampires seem to have a penchant for leather gloves), but there is something oddly endearing and intriguing about the way in which Hiddleston and Swinton perform as whimsical Eve and the depressing Adam.
With grand set designs that reference the cultural items that will no doubt be nostalgic for some, Only Lovers Left Alive combines its somber nature with enchanting visuals and thoroughly beguiling characters that draw you in with every sensuous dance movement, striking gaze, or thought-provoking line in the dialogue. Jarmusch’s Only Lovers Left Alive is an elegant love story that is steeped in just the right amount of heartache and sadness to offset its drier, humorous moments.