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Did somebody make it a rule that every director has to do a vampire movie at some point? If so, Jim Jarmusch got the memo, and he tweaks the genre slightly in “Only Lovers Left Alive” to fit his own laid-back vibe, turning in a sweet but slight love story about world-weary hipster bloodsuckers. Tilda Swinton and Tom Hiddleston have empathic chemistry as the leads, and the pic (acquired by Sony Classics at Cannes) is a smidge more commercial than Jarmusch’s meandering previous effort, “The Limits of Control.” But it still feels like an in-joke intended only for select acolytes, who will probably love it with an undying passion.

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The end credits mention Jarmusch’s longtime partner, Sara Driver, for “instigation and inspiration,” and indeed the film feels a bit like a quirky, fitfully touching love letter from one aging punk to another. Slightly upending the conventions of the vampire film (although there are precedents for this sort of reinvention), “Lovers” is a celebration of connubial bliss between two creatures who are still in love after centuries, but are out of step with the modern world. They’ve been there, done that, and ripped up the band T-shirts long ago to make cleaning rags for their awesome guitar collection.Jarmusch’s characters tend to be either laconic, enigmatic ciphers or garrulous clowns, so it’s a surprise to hear what sounds like a clearly spelled-out author’s message for once, when Eve (Swinton) tries to cheer up her suicidal paramour, Adam (Hiddleston), by pointing out all the things in the world there are to live for, like “appreciating nature … kindness and dancing.”

Indeed, these are basically nice, hepcat vampires, deeply attractive despite their fried, undernourished-looking hair, and exquisitely unscary; they score blood from hospitals and almost never feast on live humans, which would be so 15th century. Hyper-sophisticated to the point of being sometimes irritatingly supercilious, they despair at the stupidity of humans, whom they call “zombies,” and congratulate themselves for all the great art they’ve made and the famous luminaries they hung out with, inspired and/or used as fronts to disseminate their own great masterworks (as in the case of Schubert and Shakespeare). It even turns out that Christopher Marlowe (John Hurt), another vampire, really wrote Shakespeare’s plays; he’s still alive and well, living in Tangiers and hanging out with Eve as the film opens.Adam and Eve (someone should have talked Jarmusch out of those names) are so secure in their relationship that they can spend long stretches of time apart on separate continents, like nuclear particles in Einstein’s theory of entanglement (which is explained in the dialogue), but still keep the connection between them alive.

So while she’s in Tangiers, surrounded by a library of books in every language she loves, he’s in decrepit Detroit, making droning dirge rock on vintage recording equipment supplied by Ian (Anton Yelchin), a helpful human dealer in rare goods who’s unaware of Adam’s true nature.Foreboding dreams about her sister Ava (Mia Wasikowska) send Eve on a night flight to Detroit to be with her beloved. When Ava duly blows into town from Los Angeles, Adam and Eve grit their fangs and bear it, even though they have to hide their blood stash from this selfish, feckless houseguest and can’t leave her alone with their human friends.“Only Lovers Left Alive” works best in this section, when it’s essentially a light comedy of social mores set among a bunch of bohemians whose drug of choice just happens to be human blood, rather than cocaine or heroin. The attempt to introduce a more tragic dimension in the final act falls flat, however; by this point, the film has run out of juice, not unlike its wan, exhausted protagonists.

Languid pacing makes the result feel longer than its two-hour running time, and although lenser Yorick Le Saux’s nighttime traveling shots of desolate Detroit cityscapes and Tangiers’ acrid backstreets have a bewitching beauty at first, it is possible to have too much of a good thing. Likewise, Jarmusch brings the film to a stop too often to show off his taste in slightly recherche music from all over the world, even if the tracks will collectively make for an interesting soundtrack album.(Download Only Lovers Left Alive) If the fashionable bloodsuckers of the "Twilight" movies traded their frantic stares for expressions of ennui, they might have something in common with Adam (Tom Hiddleston) and Eve (Tilda Swinton), the retro cool vampires at the heart of Jim Jarmusch's "Only Lovers Left Alive." But that could never happen. Jarmusch's characters are always too hip for the mainstream, which he reminds viewers by making a welcome return to the realm of deadpan comedies that put his work on the map in the first place. Not that he ever drifted too far from it.

A centuries-old couple bored with contemporary society, Adam and Eve spend part of the movie living separately in Detroit and Tangiers before uniting at each location, muttering refrains about modern culture and recalling better times. They have sparse company in their understated despair: An enjoyable John Hurt surfaces in a few scenes to play the stately Christopher Marlowe,(Download Only Lovers Left Alive) still hurt by living eternally in the shadow of William Shakespeare. Eve's horny younger sister Ava (Mia Wasikowska) crashes at Adam's Detroit home in search of an excuse to party and briefly causes problems that, if they didn't involve casual violence, wouldn't seem out of place in a chick flick. But "Only Lovers Left Alive," despite its unapologetically silly developments, also contains the wistfulness and wine-drenched romanticism of "Before Sunrise" and its sequels. For Adam and Eve, however, the coming dawn presents a literal barrier to enjoying their lives together to the fullest extent.

So each night is another zigzagging misadventure. The only real presence who instigates plot development, Ava gravitates toward musician Adam's long-haired rocker pal (Anton Yelchin), one of several dazed humans whom the vampires tend to call "zombies" -- a term that in this case sounds more like a pejorative reference to anyone not part of their immediate social circle. In Jarmusch's amusingly offbeat and intentionally meandering narrative, the world is just not as chic as it was so many decades earlier. (You had to be there.) But then again, maybe that's because the Detroit scenery can feel redundant after a while. In over 30 years of making movies,(Download Only Lovers Left Alive) Jarmusch's interest in the intersection of bland environments and vivid personalities fortunately hasn't waned.The lackadaisical nature of Adam and Eve's world -- their lack of urgency in spite of feeling frustrated with the immortal lives imposed on them -- has turned them into brooding loners more inclined to talk than act. "This self-obsession is a waste of living," one of them sighs after a lengthy period of introspection.

Removed from the supernatural context, Jarmusch's latest protagonists in this undeniably light, witty sketch of a movie fall in line with the bored, retro cool outsiders found throughout his oeuvre. It's refreshing to see that, in Jarmusch's world, even the undead have a lust for life and the capacity to complain about it with soul. At best, Jarmusch's movies find poetic ingredients lurking within the less glamorous regions of American society.(Download Only Lovers Left Alive) From "Stranger Than Paradise" to "Broken Flowers," the unremarkable settings engender darkly funny neuroses and yearning for better lives. (Jarmusch's last feature, "The Limits of Control," was a confounding digression.) That has made him into a prototypical American filmmaker, one of several who premiered movies in Cannes' main competition this year. The five American movies in competition -- not counting French director Arnaud Desplechin's miscast and poorly scripted "Jimmy P." -- present a rather consistent view of 20th first century attitudes.

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James Gray's classical Prohibition-era New York period drama "The Immigrant" provides an elegant treatment of the strengths and weaknesses involved in the cultivation of the American dream. Joel and Ethan Coen's "Inside Llewyn Davis" captures the heyday of American folk music by exploring its reflection in one man's directionless lifestyle. Alexander Payne's "Nebraska" explores the isolation and interpersonal dramas associated with provincial life.(Download Only Lovers Left Alive) Steven Soderbergh's wildly amusing HBO biopic "Behind the Candelabra," which stars a seriously committed Michael Douglas as Liberace and an equally believable Matt Damon as the pianist's longtime lover, explores late seventies pop culture through the tensions between bonafide artistry and kitsch that define Liberace's legacy to this day. Collectively, these features cover the gamut of American attitudes during several dynamic periods in their evolution. Foreign audiences learned a lot about us this year.

But these movies are also each distinctive works married to the stylistic whims of their creators, perhaps none more so than "Only Lovers Left Alive." If you can groove with Jarmusch's patient,(Watch Only Lovers Left Alive Online IPOD) philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone. "It's over for us, isn't it?" Swinton's vampire sighs when thinking about the past. By contrast, this year's vibrant Cannes competition suggests that many of America's established auteurs have plenty left to say.

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