[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
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