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By Thomas Puhr
Things repeated in Jim Jarmusch’s Paterson (2016): circles, symbols of repetition, painted on curtains;
twins, both literal and figurative (the titular Paterson [Adam Driver], an
aspiring poet, encounters a Japanese doppelganger at a crucial moment); the daily
routines of Paterson and his wife, Laura (Golshifteh Farahani), the small
variations of which feel like different drafts for the same, universal poem; word-filled
pages replaced by empty pages, which must be filled again; and water,
indicative of both life’s transience and endurance. Paterson, recognizing these cycles, continues his life’s work; to paraphrase his “twin,” an empty page
sometimes presents the most possibilities.
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