Perhaps the handling of the story is a bit too slow and careful, but it's perhaps worth it because of the emotions felt in the third act; one of the most heart-warming and heart-breaking endings in motion picture history.

An interesting exploration of a man and his feelings as we follow his discovery of who he is and was. We don't get bogged down too much by details, with the story only giving as much as it needs to in order to make sense of what's happening. The change in scenery that takes us from the barren desert to the busy city as Travis' life comes back into focus is brilliantly executed and Harry Dean Stanton's performance is terrific.

Sometimes sweet, sometimes heartbreaking, sometimes mysterious, but always incredibly interesting and wonderfully photographed. The climactic scenes are simply perfect.

This film, that monologue.

Wonderfully constructed final act; obviously fantastic aesthetics that really pull you into the story. Spoiler of sorts: a bit problematic, narratively, as the film spends so much time building up the Walt and Anne characters only to completely abandon them half way through.

Virtually impeccable: perfectly casted, meticulously shot, and written with subtlety, originality, and surprising depth.

"Paris, Texas may be missing a crucial piece of authentic Americana, but it still evokes an America most Americans yearn to gaze on." - Joseph Jon Lanthier

one of the very few films that can bring me to tears

It felt long, but I can't think of anything that needed to be cut. Wonderfully concise and beautiful in its ambiguity.

Gorgeously shot film that is about a broken family and how one father deals with his own internalized jealousy, hurt, and emotional turmoil. Harry Dean Stanton is great in this but his character's past and his motivations for running are a little difficult to understand. The beginning 30 minutes of the film is also a bit odd and doesn't exactly fit the tone of the second half. I saw this film on blu-ray and it still looks very timeless. Even with its flaws overall it's still a pretty great film.

Odd, moving. I remember that Harry Dean Stanton is very very good in this.

Wender's use of colour is something to truly marvel at looking incredibly beautiful throughout and, alongside the very languid pace, making the film all the more mysterious and all the more vivid. And yet when all is said and done it comes back to that tour de force piece of filmmaking that is that almost 20 minute long dialogue near the end. And in that scene we can see that though the aesthetic beauty of this film is top-notch it is the emotional beauty that makes it something truly special.

Just chocked me in every single way. Unforgettable, beautiful.

It starts with images of a barren landscape and a man confused and lost. Gradually, these themes are introduced into the plot as he is reintroduced to his life. Wenders deserves praise for attempting to make a film that purposefully feels so devoid of emotion, but this does effect the pacing. Overall a strong film which I'll probably enjoy more as I get older.

313

As barren, desolate and unpredictable as its gorgeously shot Texan outback. I loved how Wenders doesn't stimulate prejudgment since the story only comes full circle near the end, and Stanton perfectly captures his character's moral ambiguity, such a great performance. To me, a movie is like a good wine: given room to breathe, devoid of unwanted, excessive substances and one that packs a hefty (and in this case emotional) punch. Highly Recommended !!!

For some reason I'd been expecting most of this to be set in the desert. Not at all. Instead the film is split into two separate halves - the first in which Dean Stanton rediscovers who he is, and the second in which he and his son look for his long-lost wife. Only the short section in between didn't interest me. The ending more than makes up for that; it's distressingly good.