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Also, I saw Inland Empire on Monday. One of the weirdest and most
interesting movies I've seen in a long time. Check it out when it opens
INLAND EMPIRE ... Can't wait.
[The two guys who made/accidentally-captured this 2-minute video - of
Lynch in a suitably bizarre "performance art" promotion of his latest
film on a Hollywood sidewalk - sound ominously like the two guys from
the Black-Book office scene/massacre in Lynch's Mulholland Dr ...].
Since its premiere at the Venice Film Festival last September, this
DV-shot, 3-hour oneiric epic has been rhizomatically percolating ever
so slowly but surely.
"EVEN by David Lynch's weird standards his latest thriller is an
exasperating stretch. For three chilly hours we shadow a small cast of
artists and prostitutes as their identities are deliberately blurred in
one of the most impenetrable films ever made ... The character played
by Jeremy Irons is trying to shoot a psychological drama about love and
terror in some sort of crazy labyrinth but there's something deeply
wrong with his script. "
"David Lynch's latest opus is a Russian doll of a film with stories
inside stories inside stories. But coming in at three hours long, made
in Poland and Hollywood, the digitally-shot film is inspired and
incomprehensible by turns ... Laura Dern (who also co-produced) stars
as an actress who has just landed a part in a new film. What the
producers have neglected to tell her is that the movie is a remake and
that the two original leads were murdered. Now, history looks set to
repeat itself. "
"There is a very clean divide in Mulholland Drive between a woman's
dreams and waking life, but the walls between the two are completely
dissolved in the more fragmentary Inland Empire, Lynch's most
self-reflexive creation to date. The director has vowed never to work
on film again, and for this, his first feature shot on digital video,
he lobs a cherry bomb at his entire canon, recording the jagged
remnants that resonate from the blast as they slide and dissipate into
the swirl of his projector beam. Some may call it a toilet, but I like
to think of it as a splendiferous whirlpool of wonders. "
"You may ask what the film's stream of non sequiturs, anecdotes, clues,
doublings, folktales, and psychotic episodes mean. We could say nothing
and declare that Inland Empire doesn't so much fall into the abyss as
it resides in it, telegraphing dizzying sounds and visions from its
drowned world toward the outside, which should suffice as an
explanation if you've learned to respect the fact that Lynch carves his
films much closer to where our id resides than anyone has ever dared.
Lynch, more honestly than Godard, embraces the dark and dingy contours
of the DV format ..."