Follow a week in the life of a young folk singer as he navigates the Greenwich Village folk scene of 1961. Guitar in tow, huddled against the unforgiving New York winter, he is struggling to make it as a musician against seemingly insurmountable obstacles -- some of them of his own making.Written by
Joel Coen remarked that "the film doesn't really have a plot. That concerned us at one point; that's why we threw the cat in." See more »
Llewyn Davis uses two different capos. In the clubs it appears to be a Hamilton capo which was around in the 1960s (although possibly not as early as 1961) but in other scenes he is clearly using a Shubb capo which was not available until 1980. See more »
You don't want to go anywhere, and that's why the same shit's going to keep happening to you, because you want it to.
Is that why?
Yes, and also because you're an asshole!
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At the end of the credits is an image (in Hebrew and English) declaring the film "Kosher for Passover". See more »
It's like a gust of wind that never stops. I was altered, disturbed and amused by the clarity of this poets. From Joel and Ethan to Bruno Delbonnel, Oscar Isaac, to T Bone Burnett and everyone who enters, even for an instant, this sublime, unique, startling P.O.V. Aware but never condescending to the audience. No explanation as to why this story deserved to be told. The answers are private, deeply personal, enlightening and, at times, chillingly transparent. The face of Oscar Isaac, my God! For me one of the most enthralling discoveries of 2013. At times it reminded me of an updated character in an Italian Neo-realistic film, others one of those images from one of Martin Donovan's sessions. I sat through Inside Llewyn Davis twice in a row. I can't wait to repeat the experience soon again.
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