As the world slides inexorably towards xenophobia, authoritarianism, and flat out racism, the cinema of Jim Jarmush offers a crucial counterpoint to the dehumanizing of the other as a means of social control.  Jarmush, a staple of the New York punk and post-punk art scene broke onto the scene with Stranger Than Paradise (1982) which introduced the cool, art house, minimalism that has become the hallmark of Jarmush's oeuvre.  By centering the outsider, the foreigner, the artist and the marginal, Jarmush cements his position as a humanist filmmaker in the tradition of the Transcendentalist filmmakers; Ozu, Dreyer and Bresson.  Join Azed and Tom for a deep dive into the restorative and poetic cinema of Jim Jarmush.