Alternately downbeat, witty, bleak and optimistic. Down by Law is a delight, right down to the unexpected last scene.

The claustrophobic setting and semi-improvised tone might suggest something closer to sitcom than cinema (had Jarmusch seen Porridge?), but Robby Müller’s stately monochrome photography single-handedly lifts it into the realm of Proper Art. It’s a sad and beautiful world indeed.

Down By Law is effortlessly laidback, superbly elegant. Jarmusch made it look easy.

The excitement of Down by Law comes not from what it's about. Reduced to its plot, it is very slight. But the plot isn't the point. The excitement comes from the realization that we are seeing a true film maker at work, using film to create a narrative that couldn't exist on the stage or the printed page of a novel.

Jarmusch's superb Down By Law can be described as many things–a minimalist fairytale, a modern twist on '30s prison dramas, an existential comedy–but it's memorable first and foremost as a richly textured look at old New Orleans and the enchanted bayou surrounding it.