"Snow White and the Seven Whores" - Part 2: Reality as fantasy [Rüdiger Suchsland at Telepolis of David Lynch and Inland Empire]
(continued)
Lynch's cinema is a pandemonium, a gathering of evil spirits, and one of them is the director himself he has basically never done anything other than here, he wanted to deconstruct the cinema, to explain to him the same moment his love. Even the necrophile is a lover and sometimes you do not feel in INLAND EMPIRE going on that here, the director, a certain degree Nekrophiles relationship with his subject. Black Romance surreal, is the Gothic Tale in any case - and this includes also the direction of special, not really hidden Lynch's classicism. Is no accident that "Four Seven", based on a Polish gypsy story based film in the film this American night, a German Melo, and it is left to the viewer, whether he realizes presumed rather the Gothic-Noir an old emigrants, or from a UFA ham the great dark days. But perhaps this body lives longer, and Lynch believes. And just about manage the power development of the simulation, the mixing of the levels of reality that Lynch always practiced. After all, he falls into any negation of the cinema but its overwhelming aesthetic.
Lynch adopted the medium of film. Did he at least told themselves. The film was dead, but what does he mean? Only the celluloid, by Hollywood or even the whole movie? This has Peter Greenaway, Lynch announced comrade in the late 80s, when the post-modern cinema, as his mid-90's nothing else occurred. Therefore, it must still not be wrong, but sometimes behind such claims but only the fatigue of their authors. So be it. By Lynch as Greenaway's film history pioneering works owes, and why they should not run out of ideas? Inland Empire also punishes the speech of Kinotod lies and acts more like an excuse for some visual sloppiness, lack of money because Lynch's own claims here could not spend one hundred percent.
important than any content You are here but Style and method of the film. In his narrative and in the dirty-gray, coarse-grained pictures INLAND EMPIRE is close to the experimental film. Stylistically, can probably explain part of the result in fact from the fact that a director has worked here for the first time in his life with a DV camera and digital footage, the camera itself, and with this technique resulted in part simply deal did not come. The result is ugly, often grainy or blurred images, where a large part of the visual magic and the visual quality of a dream is missing, the Lynch's cinema has always been essential. Even the apparently existing abundance of the material has visibly Lynch only partially covered Control - but the movie is too long, it lacks focus and discipline. Then you have to that conclusion then, however, not to harp too long. For more interesting is the question of where the film was successful in spite of everything.
This baroque, as brooding as fascinating, cathartic, nightmarish trip into the interior of the cinema into the realm of his symbols, his fantasies and his psychoanalysis, moves Lynch away from its past, more classically narrated films, back to his beginnings as an experimental filmmaker and to the early 90s when he was with "Wild at Heart", the TV series "Twin Peaks" and the movie sequel "Fire walk with me" in the footsteps of the Brothers Grimm walked - a magical trip full of paradoxes complex, narrative ellipses, modern mythology, a surreal apocalyptic scenario in which everything is out of joint.
It is surprising that even after 30 years Lynch movies are still viewers who demand this of course in the conventional sense to criticize this movie for something that does not pay, what it does not want to make - as if only one form to make films allowed. In contrast to all those directors who understand cinema as their meaning and harmonizing business, the many ways of looking at the audience looking to integrate, wants Lynch has always been the opposite: He wants to feel insecure, meaning deals in Question, create dissonance and disharmony, perception multiplies, unsettle the viewer. His main target has always been and also displaces the center of the bourgeois society with its specific sense of security and their oppressed pages, with its open conservatism and latent Puritanism, with double standards, violence and sexuality.
of qualification but this is a film that reminds one more clearly than other works by Lynch in mind that in order to shake the reality that they recognize only once. And exactly what makes Lynch miss. Like other postmodern filmmaker he goes into his own, self-contradictory case: He wants to show, that the world is not so, as it seems that "reality" actually is not that she is a phantasm. But he can not do that by giving the audience already is it clear that he's not really believe anyway. If the movie from start to slip, it can with the revelation that everything is appearance anyway, flay no impression.
Rüdiger Suchsland © 2007 Telepolis. At the request of Mr. Lynch, the attribution in Inland Empire Inland Empire has been changed. sits
"Snow White and the Seven Whores" - Part 1: identification of a woman [Rüdiger country in search of David Lynch and Telepolis INLAND EMPIRE]
A young dark-haired girl in an old hotel suite at the edge of the double bed and watches television. A tear flowing from her eye. On TV Soap is a remarkable man with three figures in costume and rabbit heads. We see a needle in a record groove, and the beam of a receiving spotlight. Another woman, blond and not very young, receives in the huge hall of her house, an elderly woman, apparently their new neighbor. The butler brings coffee. Soon the trivial, a little intrusive small talk turns to the old disagreeable. Obviously she knows too much about the life of their host and uninvited she begins to comment on this speaks to her Eastern European accent threatening prophecies from - possibly a witch ...
pictures: Concorde
These enigmatic scenes such as those of David Lynch's cinema so typical, the movie starts: oppressive, while full of seductive power they pull the viewer into it immediately in Lynch Ville, private, unique cosmos of this groundbreaking theater artist, his medium has an effect on how a few in the past two decades. And it begins a multi-convoluted story that joins the doppelgänger motif with the "film within a film" genre to a modern fairy tale - as poetic and as brutal as the tales of the Brothers Grimm.
Inland Empire is the name of a first place in the county of San Bernardino Valley in Southern California, near Los Angeles. This is David Lynch's new film but not to do so. There are more inner landscapes that mapped the director this time too.
As in almost all his films since "Blue Velvet" and this time there is a "Woman in Trouble" woman at the center, a woman in difficulty. It is the blonde from the beginning, a once successful actress who is hoping for a comeback. On the surface, says Inland Empire, the story of the woman married to a wealthy, violent Polish actress Nikki (Laura Dern) that accompanies the film is now in the following on their journey between nightmare and idyllic, desire and madness: A grown old Snow White on the escape from the evil reality by including in seven whores consolation.
In her new project called "On High in Blue Tomorrows" plays Nikki under one played by Jeremy Irons Director an adulteress, and her hubby is afraid that it might in real life a bit with her male co-Part Devon (Justin Theroux start). He threatened Devon. In addition, a mysterious history provides additional power: The film is a remake of a script whose previous film by the death of the two main characters was canceled. And Nikki is one with her role, Sue cheating ...
Around here now mix these different levels of narration and more, continually re-opened more and more. What is reality and what dreams, what is past, present or future, is how often in Lynch, the audience increasingly indistinguishable. This should be, because Lynch is not about stories and meaning in the conventional understanding. Lynch's associative method uses the resources of narrative cinema, only to lead to this absurdity. Again and again he leads the viewer the illusion as the nature of art in mind, in a double movement, he pulls you into a scene in and pushes you back in one.
As in "Mulholland Drive" is Hollywood, while the actual film, the background against which one has to understand the film. Inland Empire opens to a Space for reflection on the cinema and this corresponds with other U.S. films of the past months, with similar DePalma's underrated "The Black Dahlia" and "Hollywoodland." Also, Inland Empire, the cinema shows, as is related violence, the violence produced by myths and the myths of violence. Like them, he develops as a Hollywood hell, as the scene of an inner apocalypse. The structuring of content theme, always latent resonate, sometimes quite explicitly pervasive is the violence against women.
What Laura Dern also known as Nikki Grace everything here is subject to, or exceeds the fate of Betty Elms, the young provincial beauty, in "Mulholland Drive" happiness Hollywood tried, played by Naomi Watts, so captivating: it bled to death on the "Walk of Fame", having a screwdriver was jammed into the abdomen. Ironically, on the marble Star of the early horror stars Dorothy Lamour (1914-1996) - "L'amour", what a name! - The age-old was still playing in 1987 in the horror film "Creepshow 2", a murder victim. Dying, she stumbles then also still on the marble star, Dorothy Stratten is dedicated to that actress who was murdered in 1981 by her husband. Both films - and in this respect, INLAND EMPIRE, the direct continuation of its predecessor - act of how much blood on Hollywood stuck.
(... to be ... comtinued)
Rüdiger Suchsland © 2007 Telepolis. At the request of Mr. Lynch, the attribution in Inland Empire Inland Empire has been changed.
"Alice in Nightmare Factory" [Alexandra Stäheli in NZZ on INLAND EMPIRE]
David Lynch has ever really done anything else than to use self-epigonism? Had not already, "Eraserhead" as in a shell already Lynchsche the whole universe of fears and scary, to contain evil, beyond, unconscious and threadbare? And have the honor to the Lynchianer ever otherwise known as a review of occult practices that the whole matter in the light of psychoanalysis, numerology and Mobius strips a transcendent meaning has been extracted?
Well, also recently, by the director as "work in progress called film, INLAND EMPIRE of at least a nearly six-year development period behind them waiting, again with the Aficionados defended so hot by skeptics as a long-winded paranoia diagnosed Lynch Ingredients on, as there are: the director for Mystery performances cope modeled Actor, time loops, tell logical paradoxes and personality divisions; allegories such as nested, the people alienated houses, consisting mainly of red curtains and an array of doors and dark rooms - and a beguiling , banal myth of the creation of evil (and unconscious).
And already we are in the middle of the history of the once celebrated actress Nikki Grace (pulling out all the stops: Laura Dern), receives the new film directed by Kingsley Stewart (Jeremy Irons) a chance for a comeback. Just before the start of filming experience Nikki and co-star Devon Berk (Justin Theroux), that the film is actually a remake of an old German-Polish film project, which was not completed because the two main characters died in the shooting. And so it is for, as it has just come in a Lynch-Mystery-Thriller: Hardly are Nikki and Devon in front of the camera, begins the increasingly acting hypnotized Actress, is to transform not only their character's Susan Blue, but apparently also the former actress and their role - for now, like Alice on a bad trip in the wonderland of their own soul by a seemingly inescapable maze of film and reality, dream, predestination and the past to overthrow .
As in "Lost Highway" and "Mulholland Drive" is us presented Hollywood with a good sense of malice to be a nightmare factory, which at the mingling of the layers of reality - the power of simulation, as the philosopher Jean Baudrillard would have said - strong participates. It is of course no coincidence that one of the many Nikki's finally on the Walk of Fame is stabbed, and unfortunately it was exactly on the star of the star Dorothy Lamour, the advanced age in the horror film "Creepshow 2" was still playing a housewife who is killed. . .
And so you would have for an Oscar in the face of Lynch's work first and foremost given to the figure of the self-similarity, which provides in INLAND EMPIRE sometimes for fun and bizarre moments (such as the scathing parody of American television reality in the form of a hare-Soap) in the 180-minute epic showers at times but also has to serve for something tough and cheap darkening effects. And anyway: why the subconscious speaks suddenly Polish? Lynch says only: 47
Alexandra Stäheli © 2007 Neue Zürcher Zeitung. At the request of Mr. Lynch, the attribution "Inland Empire" in the Inland Empire has been changed.
"conflict training" 
[original publication of rainerWsauer under the title "DL50T: 12/Konflikttraining (Vol. 2)" on Friday, 08 September 2006 heimatkunde.blogspot.com]
Now I would like to report again in person. By the way: The man on my photo is director David Lynch and I have seen his INLAND EMPIRE, the day before yesterday at the world premiere in Venice. Cost factor for the whole: € 400 including flights, accommodation and breakfast In the 'Holiday Inn Venice-Marghera' and the movie ticket *. Now I'm back at home back and I must say it was worth it: the film is pure conflict training. Yes, I do not understand even a little bit - after all, I have 2003, Ms. Krause ** website breathed life and there are indeed my own Internet domain www.konflikttraining.org, which proves that you can with words and listening to some good cause.
The movie tells a story about shooting a major motion picture. Nikki main character (played by Laura Dern) gets the chance of a comeback film. You should play the lead role in a drama of love: it's about a disastrous affair. Nikki senses that she has experienced all that before. Time and space shift, she meets Sue (her former self) is blurred reality. experienced
permanent dive to three people and give all sorts of hare-enigmatic utterances of themselves, and sometimes do not know Nikki, if she plays her affair only, dreaming or actually experienced. It marks the entry into the foreign marriage as 'mind fuck' (which should mean that your brain plays tricks on you). She believes also no doubt that s going really well for them, because Nikki is both jealous about her lover, because young girls adore him, und hat zugleich Angst vor den Prophezeiungen einer bösartigen Nachbarin und ihrem eifersüchtigen Ehemann. Mit fortschreitender Dauer des Films INLAND EMPIRE spürt Nikki, dass die 'San Bernardino Riverside Area' in der sie wohnt (auch 'Inland Empire' -kleingeschrieben- genannt) und in der der Film 'On High In Blue Tomorrows' gedreht wird, nur vordergründig ein Landstrich, eine Wüste ist; hintergründig ist es ein Ort zur Suche nach Identität.
Weshalb hat der Mensch Angst und wovor? Das ist das Hauptthema, um welches sich im Film alles dreht. Lynchs Fazit: Falsche Hoffnungen oder Entwicklungen, die einem Menschen ständig neue Probleme verursachen, sind keine Erleichterung für die Psyche des eigenen Body (Lynch-uppercase-INLAND EMPIRE). Panic and fear are permanently present and can be overcome only by the fact that one comes to terms with itself. - David Lynch has personally prescribed way of trancedental meditation.
----------
* = thanks again to my old friend Claudio Belle from 'Radio Cento Fiori', has me get hold of the card.
**= www.konflikttraining-jena.de
"Absolute freedom of thought" [Rüdiger Sturm in an interview with David Lynch WORLD ONLINE]
Mr. Lynch, playing in your new film, as in "Blue Velvet" and "Wild at Heart" with Laura Dern. For the Oscar-nominated again, it just was not enough.
the film played in the U.S. under the radar. It was only in a movie theater in Los Angeles and a show in New York. But I am convinced that in two years people will look back and say, 'My goodness, Laura Dern was unbelievably great. "
Do you regret that Inland Empire does not comply?
My films are made of ideas, which I've fallen in love and wanted to realize why. Of course it would be nice if the whole world would feel like, but that never happened unfortunately. It is beyond my control. Someone like Spielberg, is there much happier turn. Like me, he falls in love with ideas, but they are just liked by millions. For me, financial success, ultimately only the icing on the cake. If I do not get it, then I still did what I believe. I hold my head high and move on.
Maybe more people will follow this path if you give them a few aids to interpretation.
That would be the wrong approach. I know what INLAND EMPIRE means to me. But I will not tell, but I would not spoil the audience's experience. When I watch a movie, I want my own Gain experience and come to my own conclusions. Since it bothers but if we know what the director thinks. The audience would have more trust in their intuition. Because basically they know much more than they think, but they do not confess on. Yet it is the great joy of being human, things out for themselves.
In "Mulholland Drive" are you with information but not so economical.
I gave the French a few tips, because they wanted to bring the film to the cinema again. At first I was totally against it, but then I became curious about her questions. However, the whole was then published on the web. Targeted at certainly remain an exception.
Are there any themes that connect your movies?
No. After "Blue Velvet", people thought I would always tell just by dark secrets that hide behind an innocent surface. This is bullshit. In such a case met the Admittedly, there is none of my films are the same. Of course, each story a journey of discovery, where you learn things you may not previously tested. This also applies to Inland Empire. This is roughly the same as you would in a boat down a canal ride. Then you stop at a pier and walk into a Building. In it you start to explore all possible areas.
These spaces, however, stuck full of extreme fantasies.
For me not my ideas. I just get ideas, I explore it and then I translate it into another medium, so that other people can have the same feelings and sensations. And of course I need contrasts of positive and negative, otherwise it is a story not interesting.
you practice known to Transcendental Meditation. Brings you to new ideas?
Transcendental Meditation expands your consciousness. And if you have a deeper Have attained consciousness, then you can get ideas on a more subtle level. It's like fishing. Way to get them to the fish that swim down in the depths.
Or you can compare it to a card game: you always get more cards with which you can start something. And the goal is to keep one day the full stack in your hand. How many cards do you have?
40th No, this is just a joke. I do not know how many I have. I'm happy, but still I want the whole stack.
it actually means that should your movies over time have become increasingly subtle.
I can not judge. I can only say that I have received over the years more and more fun in my work. I felt less stress and anxiety - all that crippled my creativity took off. I got along better with people because I felt much more compassion and understanding for them. And this is how I had less battles, and I got more and more green light for my projects.
Supposedly you learn through this technology is also flying. Can you do this?
This is about an advanced stage, which I do not dominant. Who can that is of a euphoric Happiness overwhelmed. But it is not flying around in the strict sense. The people in this stage to send out a feeling of peace that contributes to making the world a better place. No matter whether the other people think nonsense or not. But this is now very important, because the Earth is currently in big trouble.
compatible What is this peace-loving attitude with your sympathy for the Republicans?
I have no sympathy for the Republicans. I only liked Ronald Reagan - and that's only because I found the image nicely, as he carved out in his spare time, shrubs and undergrowth. I'm looking not into politics - the whole thing is strange to me. But of course I am against any kind of aggression and war. Meditation provides a much much better solution.
But that seems not entirely up to you to reach out to happiness. They also have rituals to which you can not do without.
You can not compare them. I just have a structured day. I usually eat at a certain time and a certain thing until I see this court can not and discover something new for me. I also like minimalist design.
Where does this need for structure?
It is not a deep need. But if you have too much chaos in your life, you can not think as well. This is the same as in a messy room. You hang it on a picture, it loses its effect. But once you manage fine, it pops right inside of you.
you live for decades in Los Angeles. Is it important for your health?
Very. I love the light this city, and I feel it in their air countless ways, an absolute freedom of thought. And in the evening when I smell the scent of the trees, then that evokes associations of the old Hollywood. This breeze seems the golden age to live.
But in your work to return this glossy-era back. The images of Inland Empire are rotated with a cheap DV camera.
But the flexibility that allow a digital camera while shooting is to beat by anything. I will never return to celluloid. Film as a medium is a dinosaur that is sinking in Teerloch. It's hard to slow. The copies have different quality, they pollute, they break. Of course, the look is beautiful, but to achieve it, is pure headache. That said, I can optimize the image quality of digital images. There are innumerable methods of manipulation.
Do you think at least hints at the cinema? Or should we rather continue watching your movies on your computer or on our phone?
I have also heard that something like this to be possible. Those who see a movie in stamp size sees it not in effect. As a director, you work so hard so that all elements of the sound, convey the right feeling to the picture. Even the wrong volume can destroy the effect. Therefore, I hope it is going to be the big screen of cinema. The idea that someone sees my movies on a computer screen or his phone breaks my heart. But then I have to get used to it, because this development is inevitable. And as long as I can realize my ideas, I'm happy.
Rüdiger Sturm © 2007 WELT ONLINE. At the request of Mr. Lynch, the attribution "Inland Empire" in the Inland Empire has been changed.
" Bogey and program [Marius Meller in the Tagesspiegel on INLAND EMPIRE]
a pale interior, an American petty bourgeois apartment. Husband and wife have rabbit heads. They do nothing special. A rabbit gets up, walks to the door, lets in a third rabbit - And you have a story. No, not so much a history, (for they could go in a thousand ways), rather an allegory. But before you get perhaps the idea that the American people this image is brought to the point (obenrum a religious nature, untenrum sex and violence), sound of laughter-preserved band, as usual in U.S. sitcoms. So the viewer's own laughter freezes in his throat.
What else happened in the 172 minutes of INLAND EMPIRE, which occur one like an eternity? The usual from the Lynch-Kosmos: people who are transformed into each other, Polish prostitutes who meet the evil, a film in the film with a great Death scene, an apparition of Satan and so on and so on. The rabbits Scene: a typical lynch trick, which he has copied from authors such as Kafka. Lynch reads Kafka, he says, if he wants to "have fun". A cynic? Every artist has the right to produce puzzles for the solution he is not competent. What's not to say that the mystery would be solved. The interpretation is for the viewer, his opportunity for knowledge - is part of the game, as in Kafka's late cinematic descendant of David Lynch. "Authors can tote one does not inquire as to the meaning of their art."
: He said in an interview 
David Lynch is at all covered, for questions specifically - or private. Everyone knows the story in the film business, why has he left Isabella Rossellini: because of a dead mouse in the family refrigerator, which he needed for an installation. Actually, a typical Lynch story, only told by Ms Rossellini. For the brilliant actress Laura Dern, in fact, has been to Lynch classics like "Wild at Heart" and "Blue Velvet" shone at the side of Rossellini, the film makers with a real Filmkuh and a large poster at a crossroads Los Angeles made. He wanted to their unique performance in INLAND EMPIRE point, because the cost of his Oscar-submission seemed too costly. A nice touch. Unfortunately - and that would have otherwise seen the Academy - a brilliant individual performance by a non-successful film is covered at times. And the new Lynch has not succeeded, even if the convinced Lynch fan is not easy on the lips.
in Lynch films, there is usually a leading metaphor. can he put an allegory for the occupation and "civilizing" the continent dar. Highway follow this man - - in "Lost Highway" (1997) was the American Highway themselves or lose it, as sometimes the protagonists of the film. Similarly, served the "Mulholland Drive" in the film of 2001 as leading metaphor. He is the most beautiful scenic road in Hollywood and an expensive residential area. But he also recalls the engineer William Mulholland (1855-1935), the irrigation system through its Los Angeles was first cultivated. "Mulholland Drive" was trying to deconstruct the magical center of America's dream factory - the film had discreetly, in the garb of a pseudo-horror film, on the way in U.S. culture repressed.
In Inland Empire Lynch now investigated the interaction of old Europe and new America. And therefore moved part of the plot, which works with double motives and identity exchange to Poland. But in this film frays their imagery of weird. The director acts over long distances himself as a cameraman with an (outdated) Hand-held digital camera. Thus, while some settings fascinating aesthetic - but come to the termination of the best division of labor between the camera and director, shape and rhythm of the rails.
addition act tricks that Lynch has invented or developed (subfrequenter soundtrack, white screens, games with the focus), as mere self-citations. "Lost Highway", "A Straight Story" (1999) and "Mulholland Drive was "crystal clear mounts, rational calculations, which are exciting irrational. INLAND EMPIRE, however, appears as the reuse of left out and assembled a makeshift movie snippets.
Laura Dern is acting in a - in a traditional film technology taken - key scene really Oscar-worthy. 
But often it has abandoned scenically. Jeremy Irons as a fictional film director and Justin Theroux as a fictional protagonist of that film to the film called Inland Empire will be rotated to play well, but somehow they all hang in the air.
We need to worry about the Lynch'schen creativity flow? No. Even with "A Straight Story" Lynch has shown that his film language can also, although there were there typical Lynch-scenes. And finally, he once "Dune - Dune" (1984) with David Bowie shot that was just as experiment as a total loss. "INLAND EMPIRE" acts, as would a close a chapter here. Hopefully Lynch broods been back from something that enchant us - as his strongest, his immortal movies.
Marius Meller © 2007 DAILY MIRROR. At the request of Mr. Lynch was the attribution "Inland Empire" in Inland Empire changed.
"Evil was born," [Fritz Goettler in Süddeutsche Zeitung about INLAND EMPIRE]
Here comes the very last bit out of Hollywood, California, "where stars make dreams and dreams make stars" - so it promises cocky and completely implausible , William H. Macy, in a short contribution as an advertising spokesman sacked talk show. David Lynch's new film does away with the last remnants of the American cinema dream. In the end, blood is spat on the stars on Hollywood Boulevard, now hanging around where the hookers and the homeless.
INLAND EMPIRE, Lynch explains, this is the area east of Los Angeles, the San Bernardino Valley, Pomona. He loves the nested LA today. His recommendation: "We have different worlds in a place that's great you have to take the bus and just goes from one world to another..."
One hesitates at first, to send someone in this film. It is monstrous, pathetic, overweight, funny, brutal. He knows no sympathy with the audience, not a concession. But if you once the moments of confusion, bewilderment, despair behind them, one might almost 180 of his minutes on any single . Without
is the beginning, after a furious overture, quite properly, a small afternoon story time. A new neighbor is making the Hollywood actress Nikki Grace (Laura Dern), her first visit, admired the house, tells a little story: A boy went out to play. As he stepped through the doorway, he caused a reflection. Evil was born, and followed the boy through the world.
Lynch loves the reflections, the duplication, the doubles - all the mechanisms of how the world sees itself reflected on screen. It is entirely dominated by classic Hollywood, his big films, but how he manipulates it personally, they are hardly recognizable. This is my "Philadelphia Story," he said of his debut "Eraserhead" - containing no Jimmy Stewart. "Sunset Boulevard" one of the most important films for him - should know what is for "INLAND EMPIRE".
The fairy godmother is a witch, Grace Zabriskie plays it, the Laura Palmer's mother was in "Twin Peaks" and now the figure of Laura Dern, Nikki Grace, borrows in an act of Verschwesterung the name . Her eyes are piercing, her razor-sharp Eastern European accent, which makes them sound harmless phrases dangerous. You've heard Nikki have a new film role, a history of marriage that ends in brutal fucking murder. Jeremy Irons plays her director, his pretentious demeanor makes the title seem quite natural, "On High in Blue Tomorrows." A beginning may seem to be localized in Lodz, Poland, in a mysterious bloke and manipulator, known as the Phantom, the women can stand and make shady deals. There have probably been a film before the film in Poland, "47" is the title, but a curse on him, the two leading actors were murdered.
The camera can not let Laura Dern, but somehow it turns to Lynch's and our eyes, Nikki is from Susan, the woman she plays, she begins an affair and is in remarkable somnambulism, and suddenly she stands in front of himself, in and beyond their role. In this moment is already clear that the 
categories no longer exist inside and outside, and the laws of storytelling and drama, which they justify. Lynch is keen on it, fears directly onto the silver screen, and the primary fear of all - what may, while walking through dimly lit endless corridors lurk around the next bend.
be expecting Each section must be in another world, another time to recover. You know the other from European films, Dreyer's "Vampyr" or Resnais' Marienbad ". dance in one of the eerily beautiful sixties women cheerfully interiors Locomotion, another inhabited by rabbits that spend their time and conversation with brackets - they stem from a series on Lynch's Web site. In order to make publicity for Laura Superstar, Lynch moved to a cow by the U.S. - he shall be there even for the distribution of the film.
The camera, he has conducted himself, an old digital PD 150th It provides for the dizzying blur, as known from the films of the thirties Years knows, it takes the images, the contours, enhances the material quality. Shortly after its invention, photography was always tested in the firm belief that one can do directly with the new equipment the invisible visible - the phantoms, the mirage, the past, the dead. Thus, the Lynch also sees why he never understood as a storyteller, but as a collector, as documentarian.
Nikki Grace Zabriskie brings life to the point, by another story that play to the girl who went to. It was not "the marketplace" - but "by the alley behind the marketplace" ... A whispering on the Internet has developed to the film, since its presentation in competition in Venice, a rat tail of interpretations and readings that can doubt of the meaning of blogging communities. They rob the film's innocence. Each new version represents the prior on the head. The loquacity of exegesis-operation is the film against the noise of the images. A quiet self-reflection. It's about prostitution, the sale of pictures and images. The end is comforting. When we pulled our first time death scene, it might be possible that resetting the camera, the technicians and actors applaud. The number is in the can.
Fritz Goettler © 2007 South NEWSPAPER. At the request of Mr. Lynch, the attribution "Inland Empire" in Inland Empire changed.
"So it goes in a Lynch-land" [Birte Lüdeking at www.MOVIEMAZE.de on INLAND EMPIRE]
It's time to rhyme or reason to put off and the feeling and the subconscious to let go first. For David Lynch is back, and his trip to hell seems to parallel the personalities of an actress even less accessible and understandable to be, as it 'Mulholland Drive' was. Is it illogical? Is it (bad) dream logic? It is Lynch logic.
One may think of David Lynch's films, what you will, but one has to be the man. He has a flair for expressive title, that trigger associations and immediately get stuck in my memory. 'Eraserhead', 'Wild at Heart', 'Lost Highway' and now so INLAND EMPIRE - on the one hand an area near Los Angeles, on the other hand, of course, the inner kingdom. And above all: "I liked the sound of the word domestic and I liked the sound of the word empire," the director explains his choice. As simple as that.
Perhaps his latest work, despite once again confusing, not stringent action in the core so simple and clear, if not too much about pondering and instead simply sounds and images can work on you. Without it to want to put it in a drawer and expect that by its maker to the hand and led from A to B, as it is on films with a conventional narrative of the case. But maybe it's just as well inside as it appears externally: chaotic, unnerving and unsettling, and to strip it in the best sense starting, urgently and difficulty.
It begins with a mighty roar, the one runs just under the skin and ends with the sentence, among other things, the program: "How weird." In between familiar faces from past trips Lynch, Laura Dern (Blue Velvet ',' Wild at Heart ') and Justin Theroux ("Mulholland Drive '). Then, the often practiced, only new games dice with different levels of reality and fiction, many of which seem to lead to nowhere, other from the beginning were only feints. And declare the deliberate refusal of the director, or classify.
speak what is not subtitled Poland? Why sing the prostitutes "The Loco-Motion"? Although he really should know better, the mind long after the credits trying to answer the many questions that are put into the room and remain there. And the puzzle fairly fit and easy to assemble, the first time using a digital camera Lynch wild on the canvas throws. The look is dirty and dizzy, far away from the sharp, lush Cinemascope images of his earlier works. The tone is disturbing, sometimes frightening.
"I can not tell if it's yesterday or tomorrow and it's a real mind fuck," says Laura Dern embodied actress who does not know where she is and who she is. It is an in-country Lynch as a spectator. But that is precisely the Charm, when to agree to hang the control for a while at the nail to let his brain whirling properly mixed, and then tried to draw it back into the beaten track. The Moods and feelings, the Inland Empire releases are, by common logic not to take, they can only be felt.
's own reality is a very dull noise to that effect before. Assuming you are in reality and not in a dream or fictional parallel universe in which we are trapped without knowing it. Maybe all speak Polish in the reality in which one is actually home. And what they mean at all the people in rabbit costumes? No matter. In this film they feel right.
Birte Lüdeking © www.MOVIEMAZE.de 2007th At the request of Mr. Lynch, the attribution "Inland Empire" in INLAND EMPIRE changed.
"Who am I Where am I? And when?" [Sascha Keilholz at www.CRITIC.de on INLAND EMPIRE]
end is Nina Simone's "Sinnerman." If we are to believe director David Lynch, it is the final end of his movie career. This is not surprising, it seems the current cinematography but having driven a limit to cross the hardly seems possible. With 'Blue Velvet' (1986), he has created one of the films of the eighties, created with 'Twin Peaks' (1990-91), the ultimate TV series. 'Lost Highway' (1997) one of the most radical films ever, 'The Straight Story' (1999), as well as a complementary counterpart. 'Mulholland Drive' (2001) is the perfectly formed beauty of the nightmare. And now, INLAND EMPIRE.
Usually, the cinema is a place that gives us security. Since there are theories that assume that the person running on the canvas so to speak, acts of compensation to which we lack courage or talent. Or that they spend even our unlived dreams. When David Lynch, and this is nothing new, it is more of the nightmares. Stanley Cavell speaks against the absence of a mechanical watch the spectacle, the events on the screen, which ensures its helplessness. This has less to the physical distance between screen and viewer, but the time between the experience of the viewer and the depicted events. And yet it seems that Lynch difficult to speak of the absence or hedged nature of the audience. Perhaps precisely because his films ignore given time, continuity and film laws.
"Sinnerman," which is the signal to relax, it is the final and comparable with the moment of waking. Only the last scenarios of the tangled dream run through the mind, but it already feels secure pillow and in a few moments you have in the safety of the reality anchored. But what lies behind - and the importance ascribed to him? Since Freud, we suggest all our own amateur psychoanalyst and the nocturnal inspirations ever take the course of a day or concern to the phone when a loved one is something happened in a dream. In the cinema of the last years of this parallel world, a matrix, a striking significance is attributed.
Apparently with this particular form of escapist cinema of his offer or a desire to parallel worlds account. The various livelihood opportunities are often balanced against each other. With INLAND EMPIRE, the ratio should be determined not so easy. Not a Parallel World corresponds to a nightmare scenario - the entire structure turns out to be such. In this respect, Lynch offers neither escapism nor a parallel world that appears as an adventure, as a fun alternative. There is only in the split, yet intertwined, according to its own rules of functioning whole universe - and who would seriously want to live in it?
If Lynch is essentially about the opposite of security. INLAND EMPIRE is steeped in uncertainty, the images and characters impressed. If they come loose in time and space coordinates, even when identities are no longer clearly distinguishable, what remains? Lynch's project, one might think, is the structure of the uncertainty to transfer to the structures of cinema. The classical Hollywood cinema loves the establishing shot for the public to give space to give certainty: here we are. If Lynch is not only unclear where you are, we do not even know who is currently in this place, we can not assign - neither topography nor a time.
all starts so innocently, with the topic of the increasing indistinguishability between actor and role. Were it not for these people have previously been in rabbit costumes. Nikki Grace (Laura Dern) is, as wife of a rich and powerful man, apparently type oligarch east, and at least In the past, successful actress. The new rotation brings the womanizing Devon Berk (Justin Theroux) together. Of course both should be on guard against the husband. And the curse that was already on the first film version of this remake.
far, so good. But what if the scenes of the film set to be a labyrinth, where you meet yourself? What if you live in a sudden time loops? Then you live in a nightmarish parallel world and the cinema has been transformed into a place of uncertainty, is due to primal fears.
Nina Simone is one of the most popular singers when it comes to the selection of film music goes. Emanuele Crianese is in 'The Golden Door' (Nuovo Mondo, 2006) is equal to the two most popular plays "Feeling Good" and even "Sinnerman", also there at the end of the film, a. In general take a Simon songs in the movies often prominent places: John Malkovich took advantage of its lesser-known title "Who knows where the time goes" in his directorial debut "The Dancer Upstairs' ('The Dancer Upstairs', 2002) for one of the most impressive endings in recent years. What is also because the song is used innerdiegetisch and linked with an impressive dance sequence. Similarly, Michael Mann went to 'Miami Vice' (2006), "Sinnerman" rang out there in the brilliant opening sequence, as part of the club sound carpet. As with Malkovich and man Lynch now offers an audio-visual highlight - including, in contrast to the two predecessors, the music source in this case, of course not be determined. Overall, the recent work of Lynch and men are closer than one would think perhaps spontaneously - beyond both their very different modes of narrative conventions and are driving the current expressions of cinema.
Who wants to talk this year about cinema that will not get past INLAND EMPIRE.
Sascha Keilholz © www.CRITIC.de 2007th At the request of Mr. Lynch, the attribution "domestic . Empire "in Inland Empire changed
"The unconscious speaks Polish" [Boris Groys at www.SCHNITT.de on INLAND EMIRE]
The new film by David Lynch, INLAND EMPIRE is certainly a masterpiece - a Encyclopedia of all methods of modern cinema, which will play without any doubt an outstanding place in Film Studies. It is this formal side, which stands above all. Otherwise, the film seems rather dark, to be puzzling at first glance. This impression, however, deceptive. INLAND EMPIRE much rather make it clear that is left unsaid in earlier works of Lynch.
all titles from David Lynch are about people in a state of exposure to the other, Inhumane - from the outside, but primarily from within. Since fighting the forces of mercy to the forces of evil, the man appears in part as a pawn in part as the embodiment of these forces. Lynch believes this case clearly not in the possibility of a final reconciliation and harmony.
Lynch turns but different movies, but he always repeated the same conflict. The time in Lynch's films is circular. It rotates in a circle - the circle of the passions of the risks, the opportunities now to return to basic figures, back to basic situations repeatedly. This is it is the eternal recurrence of the same. It is characterized primarily of repetitive and insistent, that Lynch's work. The evil spirits are always there - they can be appeased neither defeat nor definitive. , an Empire, will be the sovereign of the people and must not, but - These spirits are rather an Inland Empire in the psyche of every man. Nun: But where are all the evil spirits? Because they can be sold by any psychoanalysis, they must have a trans-individual, genuine foreign origin. Namely one has the feeling that the characters in Lynch's films, although in reality the U.S. located, but at the same time are "not quite there". Rather, they are "Haunted" possessed by spirits, who need not be individual, but if you will, world-historical ghosts. But now the mystery of the earlier films by Lynch is finally solved: evil spirits come from Poland and, in general, from Eastern Europe. Eastern Europe is the geopolitical absolutely uncanny - and is the collective unconscious of the civilized West. The unconscious speaks Polish.
such a thing could be supposed earlier. Although most of the heroes of the Lynch movies are brave Americans, the forces of which they are possessed, apparently of a different, non-American origin, for they follow a non-American logic - the logic of totalitarianism, the uncontrollable force of blind fate. The geo-political positioning of this logic is very clear when you look at the photos taken in the Lynch recently in Poland. Although there are apparently pictures of ordinary industrial installations, the viewer - reminds primarily at Auschwitz, but - also because of the inscriptions in German, which are found in these photos again and again, and because a certain atmosphere which pervades subtly also to the expulsion of Germans after the Second World War, to the lost world of the East German. In this context I believe that a photo image from New York particularly interesting, included the Lynch and the city is behind a mesh fence that looks like a concentration camp grill. The sense of historical risk also becomes clear from a drawing Lynch, which is a typical American house, which is immersed in gray and surrounded by airplanes, rockets, flying saucers and other unidentified flying objects and is obviously threatened.
The line between consciousness and unconsciousness at Lynch coincides with the boundary of the Cold War between West and East, which is not between different species of the eastern totalitarianism clearly distinguished. The human psyche is deeply divided accordingly between West and East, it is in perpetual cold war with itself as a Westerner you can not live in peace and sleep, because their own dreams to speak with an Eastern European accent and Eastern European look depressed, desolate. Man, the outer empire but not enough to govern effectively when the inner empire of dreams not under the control of its wake can bring subjectivity. The heroine of INLAND EMPIRE solve this challenge to the traditional American way: She shoots her Polish unconscious. A good solution. In today's post-communist Eastern Europe, it is quite feasible. The question that remains is whether, in other regions outside Europe, eg in Iraq, works just as well.
Boris Groys © www.SCHNITT.de 2007th At the request of Mr. Lynch, the attribution "Inland Empire" in the Inland Empire has been changed.
"The rabbits are not what they seem" [Daniel Bicker man at about www.SCHNITT.de DOMESTIC EMIRE]
starts with the black screen: Now it's dark. Then flashed a spotlight, a moment out of a creation myth. Only in this movie will turn out not by darkness but by light, the threat, by the light, shine the pale faces, allows the through an open door falls, from which residents connect and through which one can carry out the evil in the world. rain in each of the following 172 minutes of such motifs and numerous associations on the viewer down, sometimes they pass and come back later, waving briefly tired disappear, then finally in the fog of mystery. David Lynch says goodbye to narrative and drifts in the symbolism of the brand, Matthew Barney, his new film is a Überforderer an exhaustive, the whopping three hours at the audience gnaws and grinds and shakes, and if Roger Willemsen's right with his thesis that art is always overwhelmed the audience, then this is all great art. The mystery of David Lynch is its ability to implement the principle of homonymy unfilmische deeply on the screen: namely, that a thing can be many things in parallel and a paradox, that from the same window also can see a bright courtyard like a dark movie set , that a simple object, a screwdriver, a telephone, a door (or: a camera, a projector) can be both different, not just metaphorically, very tactile. Logical further thought you end up with a quotation from Heiner Muller, according to which a man is always a lot of people, and so the focus of this hallucinatory space-time distortion called Inland Empire is also several times Laura Dern, as greasy Straßenhure as glamorous movie star, as a shy Southern belle, a schizophrenic version a woman in a dream in the film in a dream of another schizophrenic woman. Laura Dern, as she cries throughout the film, whispers, shouts and stirnrunzelt, without once giving up the body tension so essential, that is nothing short of sensational.
are all passing in the film world, of course, peppered with the usual Lynch-actors in the usual Lynch roles: Grace Zabriskie sleepwalking as a mini-alien with rolling eyes and just such an accent of the scene, Harry Dean Stanton bummed to be confused-likeable fellow on a film set: Diane Ladd grins as haßgeifernde witch by her own talk show. These cameos of friends who had improvised in the five years of shooting time and inclination, just stop by: William H. Macy, Nastassja Kinski and Mary Steenburgen run times briefly across the screen, spreading foreboding and then leave. Due to its track as spidery handheld digital camera, the film is less Stream of Consciousness, more slip box, sketch pad. Matching takes place in "Inland Empire" and the infamous short film series Rabbits a new home, although no comprehensible connection. But how could a handful of scenes with humanoid rabbits, iron the rehearsed to inappropriate laughter and applause, and watch TV, positively integrated into a narrative approach? remain in memory after the explosion of confusion and measuring Alliancen especially the narrative jumps: by Polish subplots, through meta-reality and dreams, through identity and mask change by different camera styles and film materials for which Badalamenti's soundtrack with the usual ludicrously pompous and jazz to the grave.
The numerous cracks inevitably lead to a break point in the audience: When rocking the imaginary friends of the main figure in the formation dance to "Locomotion", the last hope died on narrative coherence. But when every door to another world and another state results, you learn at some point, let go, to go with the flow. In an interview, Lynch describes his experiences with transcendental meditation as a walk "to the shores of relativity. And then guided into one. It transcends the Absolute." Who after a half hour "Inland Empire" can not understand this feeling will probably leave the room frustrated. All others are illuminated.
Daniel Bickermann © www.SCHNITT.de 2007th At the request of Mr. Lynch, the attribution "Inland Empire" in the Inland Empire has been changed.
dossier on the Internet "back from the art of cinema and" LAURA DERN 
What Laura is in IE? She was born on 10 February 1967 in Los Angeles / USA, the second child of parents, Bruce Dern (including 'Silent Running', 'Marnie') and Diane Ladd (including 'Alice Does not Live Here anymore', 'The kiss of death'). Laura's sister died in May 1962 at the age of 18 months after an accident in the home pond. Dern's godmother is the two-time Oscar winner and women's rights activist Shelley Winters ("The Diary of Anne Frank ',' Lolita '), which had already discovered the Robert DeNiro and promoted and that Laura was doing well. played at the age of 13, Laura Dern, along with Jodie Foster in 'Foxes', with 15 in' The Teachers' and 17 in 'The Mask'. At the age of 19, she took off in David Lynch's 'Blue Velvet', where for four years she was the girlfriend of actor Kyle MacLachlan. After 'Blue Velvet' Dern was a star, but was appreciated mainly in intellectual circles filmmakers. 
This was all the more after Lynch's' Wild at Heart - The Story of Sailor and Lula in 1990 and did not change until 1993 with its female lead in Steven Spielberg's' Jurassic Park '. For three years she lived with actor Jeff Goldblum, from which it separated in 1997. Shortly after, she fell in love with her colleague Billy Bob Thornton, with whom she became engaged in 1999. The relationship with Laura Dern for Thornten ended shortly before the wedding fiasco, when Billy Bob separated from her and became engaged to Angelina Jolie. Only the musician Ben Harper took them out of their life crisis. Meanwhile, both married and have the children Ellery and Jaya. is inspired by her godmother, Laura Dern for years for social justice, for the needs of homeless people and for the rights of women in Afghanistan. For six years she was convinced vegetarian before she fell ill with anemia and its diet on medical advice partly surrounded on flesh foods.
THE SOUNDTRACK 
(previously unveröffentlicht) Beck: Black Tambourine Mantovani Orchestra: LOVELY WAY TO AN EVENING Spend Kroke: THE SECRETS OF THE LIFE TREE Polnisches Radio Symphonieorchester: FLUORESCENCES FOR ORCHESTRA / Krzysztof Penderecki Little Eva: The Loco-Motion Mantovani Orchestra: THE COLORS OF MY LIFE Polnisches Radio Symphonieorchester: De natura sonoris II Joseph Altruda: LISA Polnisches Radio Symphonieorchester: Polymorphia / Krzysztof Penderecki
Polnisches Radio Symphonieorchester: ALS JAKOB ERWACHTE / Chris Penderecki
Polnisches Radio Symphonieorchester: NOVELETTE (Conclusion) Polnisches Radio Symphonieorchester: DE NATURASONORIS I / Krzysztof Penderecki
Dave Brubeck Quartett: THREE TO GET READY AND FOUR TO GO Boguslaw Schaeffer: KLAVIER KONZERT
David Lynch & Marek Zebrowski: "POLISH NIGHT MUSIC NO. 1" David Lynch & Chrysta Bell: POLISH POEM David Lynch: GHOST OF LOVE (Strange what love does) Krzysztof Penderecki: ANAKLASIS FÜR STREICHER UND SCHLAGZEUG Etta James: AT LAST Nina Simone: SINNER MAN (FelixDaHousecatsHeavenlyHouseMix) David Lynch: WALKIN 'ON THE SKY Additional music by Angelo Badalamenti.
"self-experience with Dr. Lynch [Andreas Borcholte in the mirror over INLAND EMPIRE]
With INLAND EMPIRE is adopted by the American director David Lynch once from the constraints of the cinema business. Sense seekers beware: This film will confuse you - and disappoint.
With cinema in the classical sense to do nothing and Inland Empire but it could be the only truly artistic movie that this Cinema year will produce. Given the wealth of the Association offers, nesting, implied metaphors and symbols, close-ups of Laura Dern's trembling face, which seems sometimes sorrow, sometimes fear, sometimes expressing lust, the sheer force of the impressions that flicker in about three film hours beyond the canvas , one remains perplexed back as a critic. The director has consistently evaded the interpretation methods of narrative cinema.
This director is David Lynch, is 61 years old and answered in a soft voice when he again journalists begging desperately for answers to those questions that leave his films. "The cinema, the audience in kidnap a world beyond the intellect, in which they totally have to trust their own intuitions. This is not about to understand something, but to learn something, "Lynch said recently in Der Spiegel interview. Beyond the intellect, that is as much as the head, and let your senses run free.
One has to know that Lynch has been doing since the early seventies, Transcendental Meditation, learn a relaxation technique that aims at a kind of enlightenment by one advances in meditation within their own mind about the so-called "unity consciousness". Those who reach this stage exist for the Terms reality and fiction no longer. Space, time, dream and waking state merge to an all-pervasive experience.
The knowledge of this method can help to interpret the recent work of Lynch. Even if this is just another grasping at straws of meaning, perhaps, a last gasp of a meager intellect. Because cognitive facilitate the flight offers in the content description of INLAND EMPIRE little. There is no coherent narrative, but only one plot in a plot in a plot. It is towed by actress Laura Dern, as it was to sit exams to wake up from a nightmare a mad professor has planted in her subconscious as a guinea pig.
At the beginning of the film, as Lynch wanted to lure us on the wrong track, yet all seems straightforward: the forgotten actress with the scary name Nikki Grace (Dern) wants with her role in the film "On High In Blue Tomorrows "celebrate their comeback. What it late, perhaps too late to learn, is that the film, an evil tearjerker, shot once before in Poland, but never completed, was because the two leading actors were murdered.
When Nikki gets lost in the scenes of the film set and suddenly in a completely changed Reality is again, you think you are still on familiar terrain Lynch, which was believed to have earned through persistent view the encrypted late works "Lost Highway" and "Mulholland Drive" bit by bit. But soon after places, time and activity levels change so quickly appear and disappear Polish Mafiosi, sitcom actor with rabbit heads and harpyienhafte whores seemingly incoherent that it feels like poor Dorothy in The Wizard of Oz ": Suddenly, we are not in Kansas anymore - and the tropical cyclone named Lynch with us like this on a different level of consciousness.
Nikki Grace has both the history of the original performer pair and the film characters and her own bent career experience, and at the end when she dying with a screw driver in the bowels is between bums on wall of a house on Hollywood Boulevard, you think again, INLAND EMPIRE to have understood: as had verkünstelte parable of the murderous film industry, suffering from a newly discovered miracle child to Lynch in the late eighties. And as late, reconciling tribute to women who suffered in his previous films, often under his sadism.
That just embodies this character is Laura Dern, only makes sense: Like no other of Lynch's actresses she had in "Blue Velvet" and "Wild at Heart" serve as a projection of male fantasies. Lynch now you are a multiple interspersed, very Kafka-esque sequence in which she tells a disinterested lawyer or detective in a narrow garret their suffering. The lethargic the guy, the more angry, the woman spent sitting in front of him.
Laura Dern, this blonde, whose beauty, consisting of an angular face and a wicked mouth slipped, INLAND EMPIRE owes much of its fascination. It almost seems as if her offer Lynch just a canvas on which they can enjoy themselves without reserve. It is a pity that for this extreme-performance spectacle that has to do with self-experience to a similar amount as with experimental theater, has received no recognition of the film industry. But "where David Lynch and Laura Dern in" Inland Empire "are executed arrived, there are no Oscars anymore," the critic George Seeßlen wrote in a recent essay on the film.
is actually no understanding, but only an ambivalent experience left: The filmmaker has for his departure from the conventional operation independent film made by almost all the rules of representation, a freedom which, among other things, the most grueling Length of the film with the result. The film was shot not on film, but with a digital video camera. Sales and production were the first time alone in his hand, has helped his wife, Mary Sweeney. Much of what ended up later in the film encamped for months in digital storage, or ran as a mini-series on Lynch's hyper-active site. The future is truly independent of this will bring in the independents in the overlapping media streams of the network, the "artists with completely new forms of expression." understand
And we must not only as a film INLAND EMPIRE, but as to all sides open art installation. As an experiment, which uses the screen only as a springboard to develop in the minds of the audience an individual life of its own. Enjoy self-awareness.
Andreas Borcholte © 2007 THE MIRROR. At the request of Mr. Lynch in the mirror again given attribution "Inland Empire" in the Inland Empire has been changed.
- Part 2: INLAND EMPIRE - 
[Georg Seeßlen EDP in the film 4 / 2007 on David Lynch and Inland Empire]
(... continued ...)
INLAND EMPIRE, David Lynch's first movie, shot on digital video equipment, was and is over with a directness, a bizarre-date, as if the dream no longer be removed on celluloid, but as present and provisional. The work of art that given its technical reproduction. The faster and cheaper way of working now led possibly to produce quantities that bring the experienced cinema audiences to the edge of his attention span. Three hours Inland Empire, also a pure perception psychologically 'wrong time'. It was perhaps something of a digest summary of the Lynchismus, perhaps the first "Lynch film" of David Lynch. As so often with this author, one might have the impression that it is at once a conclusion and a new beginning.
Lynch turning to digital tried to post the video on his website and in the material, as he himself says, "love." He praises the "new freedom" which one wins in turning and in post production with it. "For me there is no way back for the film," says the author, which may combine aesthetic and economic decision forced together. DV is an experimental material for the audio-visual artist who works out of his head, as it and make no concessions and no more grueling negotiations with the production side, everything will run. What emerges now is so pure Lynch as a painter, whom you can work with his colors and his canvas, without him to interfere.
arose during the previous Lynch films, an open system of closed-odd images (each setting was like a painting), it now arises in part from open and unfinished in some way images. In fact, played this time also pre-work, some installations, photo projects (some issued them in the retrospective at the Fondation Cartier in Paris) as well as autonomous films (Darkened Room, Rabbits) a more important role in a process that is largely due to collage and have thus and collection and review. The 'dialogue' from about Rabbits that were in the original film as nothing concrete poetry, wondrous void get in Inland Empire is now a new feature: 'mean' you, they provide samples of the composition and, once again, the Dechiffrierungsspiels. The Internet also plays in the art concept of the David Lynch a different role than in the commercialization process of the traditional media multiplications audio visual products. There are working drawings, sketches, partial deliveries that get the Lynch community and to have an influence in which they can. The beginnings of Inland Empire consists of short films, has realized the Lynch for the network or in it. The film Inland Empire is the center of a larger art project, which in turn is a summary of the major art project, David Lynch.
This Lynch certainly lose a little of what it in his career so far so unique, the ability, the freedom of his art in the dream factory to take himself and the 'Twin Peaks' even in the municipality of prime time television. Well, long ago with the rank of a classic, it can work away from the industrial railways, very free, but a little isolated. His new way of working is a medium of "huge exploration" (quoting Lynch), and finally allowed another DV work with the actors. They play a certain extent not to cut or end of the footage, but to your own exhaustion. A kind of anti-image work can be observed there. The performance is certainly unnecessary, Laura Dern in particular seems to increase in the situation "to excess", as they say. Dern 'is' not 'is' exploring them. You can imagine how great must be respect and trust between government and representation, and one can imagine the role that light and moving material plays.
INLAND EMPIRE describes a certain state, but at the same time it is also a very real place, a dark area on the border in the eastern desert near Los Angeles. The glamorous side of the city that played in 'Mulholland Drive' not such a significant role, not present here. Again, it's about two women whose paths and appearances are intertwined, and again one of them a blonde movie star. However, this time not at the beginning, but probably on a line between peak and end of your career. A kind of prologue describes an act of exchange of love and money, man and woman in a hotel without identity, as it digitally erased the faces. Only then will receive after the husband left her, the wife of a face: a dark-haired young woman in a lonely, old hotel room. She cries on television during a typical comedy show is running, the screen light is reflected in her eyes. A couch (again, facing the 'imaginary' television as they are from Al Bundy and his family knows) in the living room behind the kitchen and the ironing board. Sentences without meaning, door open and close, to laughter from the band. Everything as usual. Only that the people who in this ambience huge rabbit heads.
And there is this famous yet distinguished actress, Nikki Grace, in his thirties, maybe, she gets in her palatial villa to visit a mysterious new neighbor (Grace Zabriskie, we know from 'Lynch Ville'), that huge eyes opened strange sayings and an obviously Eastern European (Polish) accent a bad game. It begins with the usual small talk, the ambiguity will not be noticed ("I hear you have a new role "), and found two little parables, Polish fairy tales, said: When the boy went out into the world to play, was born evil and followed him. When the girl went out to play, it lost itself in the marketplace. The wife of Nikki Grace seems to know far too much to be a harmless neighbor. And another thing she anticipates the event of a civilized conversation in the world of dirty words. That they are "that kind of talk" may not endure, "says Nikki, which may belong to the obscene words as to the prophecies of the guest. For the "neighbor" Nikki has warned against accepting the role for you the project "On High in Blue Tomorrows" is available. There, she says, waiting for the demons. How true.
The 'oracle' of the new neighbor is not only an account of what happens in the world of the (cinematic) role-playing, it is an interpretation of what is coming, though neither the only nor even the ' right '. But the easiest way to access INLAND EMPIRE is the conversation between the neighbor and Nikki Grace, as it word for word to use as a model for the coming events as well as the constellation of Rabbits show. It is, more precisely, a prophecy that Nikki knows enough to fill them with fear, and too little in order to guard against the coming calamity. "Ees eet about marriage?" Asks the neighbor to the cunning nature of the witches. That's what it will work. So again, the film tells the story of an actress who missed the film work, the return to reality and falls deeper from one nightmare to another, but he also tells the story of a marriage, a fraud, a jealousy and a murder.
The samples for the movie to start. The director Kingsley, played by Jeremy Irons as very British self-quotation, explains that the film should be shot once before in Poland. But the two leads were murdered, and the Shooting stopped. The story, moreover, go back to an old gypsy legend, as if the curse still not enough. But Nikki and her co-star Devon to let them not take their chance, for Nikki, it is mostly a chance for a comeback, perhaps the last. But something else is obviously more important: the marriage on the side of the jealous rich Polish husband (Peter J. Lucas), they can not fill, playing in front of the camera is their only chance of dissatisfaction to escape their prison. It's not just about the career, it's about life. But the man recognizes the danger. If they start an affair with Devon, he warns, will have serious consequences. Nikki longs to exceed this limit, and it loses the boundaries between dream and reality under the guidance of sexuality. The nightmare, or the sequence of nightmares, that is, we are still at the level of simple explanations, the interplay of desire and prohibition. The circling of pleasure and fear. Dream work. Triggered by one of the dark fathers, their property, the woman to say with unspeakable violence to maintain Lynch Ville. Whether Nikki and Devon have an affair with each other or at least 'only' Sue and Billy, the characters they play that loses its clear difference. But that's not so surprising. Dreams we do not live what we can not? And we dream not for any sin with the punishment?
The whole thing is also interpreted as a fairy tale of Hansel and Gretel, perhaps also the neighbor said, or is Nikki Grace, a new Snow White, is to receive from the evil witch, the poisoned apple? Remember, he was made a healthy and a fatal half. And so must flee Snow White, in a wilderness, where they flee, for example, seven dwarfs (seven prostitutes, seven of the dancers' Loco-Motion ") seeking refuge, about to be murdered, or even a murderer to be. Certainly it (but again a double of the doppelganger) a look-alike; an old haunts in a new film, one was, who never finished in one, the result is just. More and more mixed film, reality and film within a film. From one door to another, the situation of the heroine is bleak and desperate, more and more must to be left completely alone to feel more and more scared her companion. Behind the rather melodramatic story of 'On High in Blue Tomorrows' lurks a different, sinister history. Sue Blue and Nikki Grace, mercy or darkness, are here in a dark house, together with a group of women, a chorus of whores, and they connect the story with another, in a wintry Poland town, sometime in the thirties plays, and on the dirty Hollywood Boulevard of the present. And from then on back to make a film. What is, however, always is: the power of men and the suffering of women.
Nikki 'dies' in front of the camera, and begrudge Lynch her, in the community stranded on the road, which all have their stories again, a remarkably beautiful scene. But not so ends Lynch - Nikki must change once more the pages, and it changes consistently on the audience. In the cinema she looks at herself on screen, this space between us and the film Lynch has cut out so far, and it falls back immediately into the dream (in the rabbit under the rabbit hole) and, vice versa The film ends with a direct statement of the actors to the audience, they must assure us that this 'only' was a film (and of course just feeds the doubts that insurance). The two women say goodbye to speak before the curtain; "hot weird," says one, how to anticipate the verdict of the spectator.
How 'Mulholland Drive' can also describe Inland Empire comparatively simple in its composition: it is a story in a story in a story in a story that is more or less the story that was before the first story. The number of gates is the number of inner stories, this in turn corresponds the number of medial reflections, between the stories there are again the same number of relationships. In the end, a story has unveiled literally by what she told her own story, which in turn ... As I said, it is an entirely logical and consistent structure. But is not it more than the statement said, a Chopin etude follow a musical logic to just get there, where the musical logic does not count anymore.
In Inland Empire has become Lynch's cinema to cinema of the woman who brings the work of art in the world, in pain, certainly. Laura Dern is the perfect woman while Lynchian, it is not only her versatility and her courage to alienation, but also the willingness, the subject and the object of the tale of exploration at once. Accomplice in a research trip and victims alike. Lynch thanks with a tenderness that he showed as yet none of his female characters over and he shows the suffering of the woman this time without the sadism, which he developed in advance occasionally. One might almost think, INLAND EMPIRE is a picture of fear, which is itself free from fear. A Lynch film, which is a Laura Dern movie. Perhaps you could also just say David Lynch's INLAND EMPIRE is first love film.
Last part of an essay by George Seeßlen © 2007 EDP film. At the request of Mr. Lynch here reproduced Attribution "Inland Empire" in the Inland Empire has been changed.
the film "The art of the cinema and back" - Part 1: DAVID LYNCH THE ACTOR 
[Georg Seeßeln in EPD Film 4 / 2007 on David Lynch and Inland Empire]
David Lynch was in the eighties of the few directors who, after the failure of New Hollywood is a very unconventional film language were able to save in the dream factory: a writer whose career was marked by the struggle of the artist with the camera and of heights and depths was richer than most filmmakers of his generation. Early fame brought him under the the terms of the resulting Underground Movie 'Eraserhead' (1976), a, a sombre, encrypted, nightmarish and yet deeply funny work that also fit well with the idea of cult movies such as Midnight in the art galleries. With 'The Elephant Man' (1980) proved Lynch that he could deal with the realities of the professional and work-part film industry and Narrationsregeln follow, without losing its style will. But then came the film version of Frank Herbert's 'Dune - Dune' (1984) a true fiasco, the document of a lost battle, one of the most beautiful ruins movie of cinema history. Someone like Lynch could revolutionize the medium of cinema quality, but not the fantasy blockbuster.
A kind of peace offering between the production of De Laurentiis and the author had the opportunity to make a "small" Thriller, giving rise to 'Blue Velvet' (1986), a disturbing look at the night side of the American Province and a trip into the unconscious with entirely new products. 'Blue Velvet' was like a setting the tone for a cinema, which was later called "postmodern" and began to free themselves from the dictates of classical logic script. And 'Blue Velvet' also began the work of international Lynch-Dechiffrierungsverschwörung; at any other director to work the fans, the critics who Theorists and people who are a bit of it all, so as from the mysterious, allusive, confusing, beautiful, painted over several times, ironic and violent and not least, incredibly beautiful pictures of David Lynch.
With 'Wild At Heart (1990) Lynch shot a furious, but compared to the strictly composed' Blue Velvet 'almost playful and at the same time in its scenes of violence, even as an adult perceived variation of his motives, the newly-formed camp Lynch aficionados already split again. Once again Lynch threatened again crowded the center become the periphery of images production, especially as it is between the more film projects for the art- interest than for the cinema discourse. Between films, he organized exhibitions of his paintings, his photographs and his furniture creations turned bizarre music videos such as "Industrial Symphony" and refused it certainly based on his now undisputed "cult status" between pop and art and Hollywood, between trash and high -Culture, between Europe and the U.S., the usual dream factory rituals.
The next big comeback was jointly designed by Mark Frost television series' Twin Peaks' (1989), a "Mystery-Crime avant la lettre 'and a long, meandering journey to the social and sexual Background of a small town in the northern U.S.. Satire, mystery play, mystery, and the game did to the Lynchismen a fan base addicted, 'Twin Peaks' was one of the largest TV cults of the early nineties. Once again managed the feat of a totally stubborn, provocative and enforce still mysterious world of images on the mainstream market. Lynch was forced to end the series once again return to this magical place, and the film Twin Peaks 'Fire Walk With Me' (1992) he made an echo, which both audiences made a loss, those who want a continuation, and those who had requested an explanation for the TV series. At least commercially extremely unfortunate other television projects such as 'On the Air' followed commercials for Yves Saint Laurent and Calvin Klein, failed projects such as a film adaptation of Franz Kafka's 'Metamorphosis'. The film 'Lost Highway' (1996) was then already under very different conditions of production. Lynch's film was shot in his own house, for the modest budget provided the European partner of Canal Plus. In the United States gave the film no longer beyond the circle of art house, and while the Dechiffrierungskommandos back to the endless woven story of the murderer, who turns into another, and in a story that the bottom is a different story, rushed , was the enthusiasm of the cult, as did the recognition by the 'official' Hollywood. In the film, and philosophy seminars in Europe of course was 'Lost Highway' give rise to truly endless editing.
In a move that could certainly assume irony, turned David Lynch in 1999 then the movie, no one would have expected from him and called him 'The Straight Story' (German: 'A simple story '). A very human, seemingly simple story of an old man (called straight) who wants to see before his death, his brother again, to be reconciled after a long dispute with him, and for it with a converted lawn mower travels through America (through an America in which to break on all corners of the underworld threatens Lynchsche). Lynch had his peace with America and its stories made straight? With 'Mulholland Drive' (2001), the director returned to his unreal, reflected and interwoven narrative, and again he tells the story of a man - this time it is a young actress who comes to Hollywood - that goes beyond the boundaries between different stories and different identities device. 'Mulholland Drive' reconciled to aficionados of Lynchismus by the darkly beautiful mood, sex appeal, the music and the musicality of the dance of motives and obsessions of this Artist. And once again managed to capture David Lynch, the cinema with his art. But in the changing landscape of film adapted as a film 'Mulholland Drive' not as a signal of aesthetic revolt, but only as a respected film classics of modernism. Only a few critics noted that David Lynch is not only achieved a perfection of its resources, but also daring in his own work had a big step forward. You could read the films of David Lynch to 'Lost Highway' as encrypted, magic autobiographies (and mysterious, satirical image of America), he turns into the movie-within-film-films with female protagonists, especially its own medium and his own composition teaching.
sex, violence, terror, shock, nightmares, miracles, death and something happens beyond it, reverse births, bizarre characters from fairy tales that are out of joint, the Lynch-iconography of the hotel hallways and flickering light, strange stage behind heavy curtains, the aesthetics of the slowdown, the industrial noise from an alien outside world, the weird musical numbers in between, the transfer of similarities in strangeness, the dream-within-dream sequences, the transcendence of images, the absurd Americana, David Lynch regulars, the construction of the act in autonomous cells, the return of signs and colors, even the movement of the protagonists the guidance of fear and desire - all this is also in David Lynch's recent work. But it is edited with such an awareness of form and with such inner strength that one can not help feeling, the greatest conceivable world, panic was there associated with the greatest potential I-composure.
David Lynch's turn to 'transcendental meditation' and 'Foundation for Consciousness-Based Education and World Peace' has obviously made his films at the surface is not peaceful and harmonious. If you see this in a Lynch film, it would not be clarified in any case, as it contains a lot of irony and refraction. And yet the system Lynch become more open. And the longing for the harmonic measure as overwhelming as the tenderness over the lonely suffering. The production conditions for Lynch's films are increasingly removed from those of the dream factory and approach those of the solitary artist's. Inland Empire, he has self-financed, with a little help from Canal Plus. Lynch's wife, Mary Sweeney took over the production, and on the budget there is silence, perhaps because in the traditional sense did not exist easily. The stars are certainly not have received the fees, as they are accustomed from poorer Hollywood productions, and their market value, they are not necessarily increase, they work from other subjects with David Lynch. Released in the U.S., the film no longer has a normal distribution, the director had the distribution and advertising (preferably via the Internet) take over. An indictment of the American film culture cursed critics who expected the film mostly with sympathy. But perhaps an entirely logical development. Lynch's 'application' for the Oscar was a similar operation between poetry and protest: He led a cow walking on Sunset Boulevard on which to draw your attention that Laura Dern deserves an Academy Award. There, however, while David Lynch and Laura Dern in Inland Empire reached executed, there is no more Oscars.
(... to be continued ...)
first part of an essay by George Seeßlen © 2007 EDP film. At the request of Mr. Lynch here reproduced Attribution "Inland Empire" in the Inland Empire has been changed.
