san’s review published on Letterboxd:
Three words: Harry Dean Stanton.
You don’t get a lot of words coming from our main character, Travis, especially during the first act. While this creates an investment from the mystery, it also allows Wim Wender’s film to creatively adopt a new language for conveying its message. This is often showed by the lavishly dusk color palette accompanied by the dynamically luring slide-guitar score perfectly translating the sorrow felt by Travis.
It’s a challenge to have to rely on silent human emotion and rich cinematography to be able to communicate with the audience, yet you can easily understand these characters better than most movies that use voice-overs to explain their feelings. The empty desert, capped in its vastness by smooth hilltops in the background, effectively alienates Travis, such that he is simply lost in grief and committed to self-exile. Although it might be longer and slower-paced than most movies, with the appropriate patience Paris, Texas can take you through a road journey that is both captivating and bittersweet.