ABSTRACT
Karl Schoonover (2012) has suggested that slow cinema provides an aesthetic means for representing queer uses and experiences of time. This essay argues that the slow cinema of Jim Jarmusch points toward post-human modes of belonging, kinships based on what Elizabeth Freeman has called “shared timings” (2010, xi). Focusing on three films, Only Lovers Left Alive (2013), Paterson (2016), and the short film French Water (2021), I argue that Jarmusch’s films entangle times and beings into intertextual kinship systems. His characters and aesthetic practice perform a kind of temporal drag, in service of a personal philosophy that centers mobile, cross-temporal, and intersubjective forms of relationality.
