[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.
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