Jim Jarmusch hasn’t picked up a camera to direct a feature since “The Dead Don’t Die” world-premiered at the Cannes Film Festival in 2019. However, Jarmusch fans looking for a chic new vision from the director of “Dead Man” and “Only Lovers Left Alive” won’t be disappointed with “French Water,” the indie filmmaker’s contribution to fashion house Saint Laurent’s ongoing rollout of mini auteur films. And this one has a star-studded cast. Watch the nine-minute film below.
With “French Water,” Jim Jarmusch takes a look at the famed fashion house’s Women’s collection for Summer 2021. Leading the cast are Julianne Moore, Charlotte Gainsbourg, Chloë Sevigny, Indya Moore, and Leo Reilly, musician and son of John C. Reilly. In the film, Jarmusch directs Julianne Moore and Sevigny as they search for Gainsbourg at the end of a party, and they’re joined by Indya Moore. All of the actors are seen switching in and out of different ensembles. Saint Laurent creative director Anthony Vaccarello serves as art director on the film.
Here’s what a press release for the film says: “The dinner party is over. A lone waiter is watching guests search for Charlotte. The echoes of their whispers multiply. Anthony Vaccarello chose Jim Jarmusch to orchestrate a dreamy, surreal ballet, following his own rules. Mysterious, elusive Charlotte keeps disappearing, and reappearing. Tangled until creating a form of vertigo, space and time spin beautifully. Into eternity.”
This isn’t the first Saint Laurent collection film to pair a filmmaker with a major star. In January of this year, Gaspar Noé directed Charlotte Gainsbourg in a look at Saint Laurent’s summer collection.
Here’s what IndieWire had to say about Jim Jarmusch’s last film, “The Dead Don’t Die,” in David Ehrlich’s review:
Jim Jarmusch’s recent preoccupation with life at the end of the world (and the cultural decay that comes with it) arrives at an amusingly literal conclusion in “The Dead Don’t Die,” a sluggish but knowing zombie comedy that rearranges the bones of “The Night of the Living Dead” into a resigned lament for a society on the brink of collapse. And while exhuming George Romero’s metaphor-heavy corpus might seem like too obvious a choice in our current age of smart phones and stupid presidents, this (un)deadpan apocalypse makes that obviousness the point.