Sara Driver

Sakin bir kasaba günün birinde gizemli bir olayla karşı karşıya kalır. Mezarların açılması, anlamsız cinayetlerin arka arkaya gelmesi ile birlikte sonunda bunun bir zombi salgını olduğu ortaya çıkar. Kasabanın yerel polisleri, kasaba halkını korumak için göreve girişirlerken kasabanın kimi sakinleri de hayatları için mücadele etmeye başlayacaktır. Yolu kasabadan geçmekte olan yolcuların da kasabada mahsur kalması ile birlikte zombi akınına karşı hayatta kalanların mücadelesi başlamış olur.

Filmde üç ayrı olay var: Biri Elvis, diğeri Perkins hayranı Graceland'e mi yoksa Sun Stüdyolarına mı gideceklerine bir türlü karar veremeyen Japon turistler; aynı otel odasını paylaşmaya karan veren Romalı bir dul ve kaçak bir kadın; üzüntülerini unutmaya çalışan terk edilmiş bir koca ve onun kayınbiraderi... Birbirinden ayrı bu üç öykünün kahramanları hiç karşılaşmasa da, aynı ses ve görüntüler öyküleri birleştiriyor.

Daha çok batı kültürüne özgü sayılan bireyler arası yabancılaşmanın klasik 'jarmush' metaforlarıyla anlatıldığı film, uzun süredir görüşmemiş iki uzak akrabanın, Western kültürü içinde yaşadıkları maceraları, 'kimlik' kavramını öne çıkararak sorgulayor * 1984 Cannes Altın Kamera (En İyi İlk Film) - 1984 Locarno Altın Leopar - 1985 Sundance Jüri Özel Ödülü

On New Year's Eve 1928, in the New York underworld, a gambler sells his body to science, a gangster needs a transfusion, and a gambler is on the run

Aloysious Parker, New York’ta yaşayan genç bir aylak. Ne evi ne de işi var. Bunları pek dert ediyormuş gibi durmuyor. Okula da gitmiyor. Gün boyu, kendisi gibi uyumsuzlarla karşılaşıp duruyor, muhabbet ediyor. Her biri sanki dünyanın işleyişinden sürgün edilmişler.

When Howard Brookner lost his life to AIDS in 1989, the 35-year-old director had completed two feature documentaries and was in post-production on his narrative debut, Bloodhounds of Broadway. Twenty-five years later, his nephew, Aaron, sets out on a quest to find the lost negative of Burroughs: The Movie, his uncle's critically-acclaimed portrait of legendary author William S. Burroughs. When Aaron uncovers Howard's extensive archive in Burroughs’ bunker, it not only revives the film for a new generation, but also opens a vibrant window on New York City’s creative culture from the 1970s and ‘80s, and inspires a wide-ranging exploration of his beloved uncle's legacy.

In the years before Ronald Reagan took office, Manhattan was in ruins. But true art has never come from comfort, and it was precisely those dire circumstances that inspired artists like Jim Jarmusch, Lizzy Borden, and Amos Poe to produce some of their best works. Taking their cues from punk rock and new wave music, these young maverick filmmakers confronted viewers with a stark reality that stood in powerful contrast to the escapist product being churned out by Hollywood.

Sophie comes to New York from France with the intention of joining a man she met a few months before. She finds herself alone in the apartment of the guy, who left town because he was scared stiff at the idea of seeing her. Originally commissioned as one third of an omnibus feature showcasing the Figaro, a Japan-only retro throwback car.

A short behind-the-scenes documentary shot and edited on Super 8 by filmmaker Tom Jarmusch, director Jim Jarmusch’s brother, during the filming of STRANGER THAN PARADISE.

An anthology film centering around the worldwide adventures of the Nissan Figaro.

This short documentary captures the poetry of the city’s storied skid row before its gentrification.

In 1982, the completion of Jim Jarmusch's sophomore film, Stranger Than Paradise, hinged on producer Sara Driver’s willingness and ability to smuggle one of the world’s rarest and most controversial films across the Atlantic Ocean.

American Playhouse is an anthology television series periodically broadcast by Public Broadcasting Service in the United States.

Monsters is a syndicated horror anthology series which originally ran from 1988 to 1991 and reran on the Sci-Fi Channel during the 1990s. Similarly to Tales from the Darkside, Monsters shared the same producer, and in some ways succeeded the show. It differed in some respects nonetheless. While Tales sometimes dabbled in stories of science fiction and fantasy, this series was more strictly horror. As the name implies, each episode features a different monster, from the animatronic puppet of a fictional children's television program to mutated, weapon-wielding lab rats.