[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
0 comments:
Post a Comment