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"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.