The films of Jim Jarmusch are not about plot. They are about attitude, character, and mood. For instance, his most recent film, Only Lovers Left Alive (2013), opens with an evocative, spinning shot of stars that slows and match dissolves to an overhead shot of a spinning vinyl record, which plays a slow, industrial cover of Wanda Jackson’s “Funnel of Love,” about the feeling of falling in love: “My head is spinnin’ around and around / as I go deep into the funnel of love. / It’s such a crazy, crazy feelin’. / I get weak in the knees. / My poor old head is a-reelin’ / as I go deep into the funnel of love.”
The film match cuts to an overhead shot of a woman reclined at the foot of a bed. She stares upward and blankly into the camera, which rotates and lowers down (as though draining through a funnel). With another match cut, we meet a man, posed similarly, on a couch and holding a lute. They are Eve (Tilda Swinton) and Adam (Tom Hiddleston). They have been “around and around” the Earth as it has spun and twirled “around and around” for centuries. But be not mistaken: they are not the Adam and Eve. No, they are vampires. They are lovers, too, who have been married at least three times. Their love is fresh, though, like the feeling sung by Wanda Jackson.