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Inland Empîre

Posted by Jeff Starrs (A) on September 24, 2006 at 11:11:59

Lynch comes out unscathed from TM & back to his ol' weirdo self. Whoopee...

"Only a little while ago, it could have been feared that he was lost to cinema. David Lynch seemed, by far, to become one of his own secondary characters: a bizarre preacher, under the influence of a guru of transcendantal meditation, Maharishi Malesh Yogi, with whom he had taken to publicly along with its causes. His new creed was "the universal harmony".

Highlight of the last Mostra Festival of Venice, the first showing of Inland Empire, off competition, will reassure fans. Lynch is well: his cinema is more disturbing than ever. One could only feel knocked out at the end of the two hours fifty minute screening, as if one had got off a ghost train that had just left the rails at high speed for an unknown direction.

Compared to Inland Empire, Mulholland Drive (2001) was a model of rationality. This time, the ‘break-up’ of the story, if the word is appropriate, is unbounded and with no return. And the Californian glamour has dissipated. Although located in Los Angeles, the film was partly made in Lodz, to Poland (and in Polish!), in industrial ruins, carrying the pitiless grain of numerical video.

Inland Empire begins like the chronicle from a film shoot. But the film in the making is the remake of another, formerly stopped following the death of its principal interpreters. The actress played by Laura Dern (as equally roughly handled as extraordinary, sixteen years after Sailor and Lula) crosses the decor and finds herself projected in a disastrous back-world, which seems the seat of her worst nightmares.

No one but Lynch can accumulate with such constancy these mental images that are formed between waking and sleep; volatile, grotesque, terrifying. One wants of course only one thing: to see Inland Empire again, not so much as to reestablish its logic (mission impossible) than to take another round of blows to the heart, the retina and the brain."

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