“DEAD MAN” AND BILL BURR

For a handful of reasons, Jim Jarmusch and Bill Burr are deeply inspiring to many other artists in their respective disciplines. First, of course, is that they are both masters of their craft. But another component that has for many years set them apart is the ease with which they cross certain cultural boundaries. This kind of travel is often very well intentioned, but it is tricky and can sometimes feel clumsy and off.

“Dead Man” deals with the interface of Native Americans and White Europeans different from any film ever made. Bill Burr looks at the interface between black and white Americans, also in an entirely unique way.

Each appear to have little or no prescribed, preemptive filters built from fear, guilt or political calculation. They instead seem to be responding to dauntingly complex, painful realities with a surprisingly simple tool set: organic, responsive, optimistic honesty.