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In the first, Paterson speaks to a woman at a bar about the fact this his name is indeed Paterson — you can tell this is a conversation he’s had many times in the past. He’s then tasked with consoling the woman’s jilted lover, who pours his heart out to Paterson. A bulldog named Marvin features prominently in one of the others, which ends with our hero telling his own wife (Farahani) that he’s written her a poem. Per its official synopsis, the rest of “Paterson” sounds similarly low-key:
“Paterson (played by Driver) is a bus driver in the city of Paterson, New Jersey — they share the name. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer. He goes home to his wife, Laura (played by Farahani). By contrast, Laura’s world is ever changing. New dreams come to her almost daily, each a different and inspired project. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his secret gift for poetry. The history and energy of the City of Paterson is a felt presence in the film and its simple structure unfolds over the course of a single week. The quiet triumphs and defeats of daily life are observed, along with the poetry evident in its smallest details.”
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Jarmusch is a Cannes mainstay: “Only Lovers Left Alive” premiered at the festival three years ago, with “Broken Flowers,” “Ghost Dog: The Way of the Samurai” and others making stops on the Croisette as well. As is true of many films premiering there this year — Woody Allen’s “Café Society,” Nicolas Winding Refn’s “The Neon Demon,” Park Chan-wook’s “The Handmaiden” and Jarmusch’s own “Gimme Danger” — “Paterson” has already been bought by Amazon Studios. The distributor will release it sometime this year.
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