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Inland Empire

  • 2006
  • Tous publics avec avertissement
  • 3h
NOTE IMDb
6,8/10
67 k
MA NOTE
POPULARITÉ
3 316
69
Laura Dern in Inland Empire (2006)
Regarder Official Trailer
Lire trailer1:55
2 Videos
99+ photos
Drame psychologiqueÉpiqueFantastique sombreSuspense et mystèreThriller psychologiqueTragédieDrameFantaisieMystèreThriller

Lorsqu'une actrice ne fait plus la distinction entre son personnage à l'écran et la réalité, sa vie devient cauchemardesque et surréaliste.Lorsqu'une actrice ne fait plus la distinction entre son personnage à l'écran et la réalité, sa vie devient cauchemardesque et surréaliste.Lorsqu'une actrice ne fait plus la distinction entre son personnage à l'écran et la réalité, sa vie devient cauchemardesque et surréaliste.

  • Réalisation
    • David Lynch
  • Scénario
    • David Lynch
  • Casting principal
    • Karolina Gruszka
    • Krzysztof Majchrzak
    • Grace Zabriskie
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,8/10
    67 k
    MA NOTE
    POPULARITÉ
    3 316
    69
    • Réalisation
      • David Lynch
    • Scénario
      • David Lynch
    • Casting principal
      • Karolina Gruszka
      • Krzysztof Majchrzak
      • Grace Zabriskie
    • 454avis d'utilisateurs
    • 147avis des critiques
    • 73Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 5 victoires et 20 nominations au total

    Vidéos2

    Official Trailer
    Trailer 1:55
    Official Trailer
    Remembering David Lynch
    Clip 1:46
    Remembering David Lynch
    Remembering David Lynch
    Clip 1:46
    Remembering David Lynch

    Photos140

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    + 132
    Voir l'affiche

    Rôles principaux99+

    Modifier
    Karolina Gruszka
    Karolina Gruszka
    • Lost Girl
    Krzysztof Majchrzak
    Krzysztof Majchrzak
    • Phantom
    Grace Zabriskie
    Grace Zabriskie
    • Visitor #1
    Laura Dern
    Laura Dern
    • Nikki Grace…
    Jan Hencz
    Jan Hencz
    • Janek
    • (as Jan Hench)
    Ian Abercrombie
    Ian Abercrombie
    • Henry the Butler
    Karen Baird
    • Servant
    Bellina Logan
    Bellina Logan
    • Linda
    Peter J. Lucas
    Peter J. Lucas
    • Piotrek Krol
    Amanda Foreman
    Amanda Foreman
    • Tracy
    Jeremy Irons
    Jeremy Irons
    • Kingsley Stewart
    Justin Theroux
    Justin Theroux
    • Devon Berk…
    Harry Dean Stanton
    Harry Dean Stanton
    • Freddie Howard
    Cameron Daddo
    Cameron Daddo
    • Devon Berk's Manager
    Jerry Stahl
    Jerry Stahl
    • Devon Berk's Agent
    John T. Churchill
    • 1st A.D. Chuck Ross
    • (as John Churchill)
    Phil DeSanti
    • 2nd A.D. Tim Hurst
    Chamonix Bosch
    • 3rd A.D. Sally Irwin
    • Réalisation
      • David Lynch
    • Scénario
      • David Lynch
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs454

    6,867K
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    Avis à la une

    8illuminousgurkin

    Mulholland Drive on Acid

    I saw INLAND EMPIRE at the Venice Film Festival world premiere last month. I want to keep this review short due to the fact that writing in great detail about this film is useless. INLAND EMPIRE is an experience. An experience not to be written about but to be FELT. It is David Lynch's definitive work. It's everything he has ever wanted to put into a film and it's completely free from anyone else's taming influence. The film is suffocating, dark and endless yet paradoxically contains some of the director's funniest and lightest scenes. I was frightened, uneasy, overwhelmed and moved. My emotions were thrown into disarray several times during which I lost all sense of appropriate reaction. Do not expect the mystery of this film to be solved, but expect it to be finished. Do not expect your head to understand the resolution but expect that your heart and intuition will.

    If you cannot decide whether to see this film or not, I implore you to get up and go. Whether or not you enjoy it, you will never see a film like this again. I also implore you to see it IN THE CINEMA. Do not wait to see it on DVD because the experience won't be half as extraordinary.
    tedg

    Kieslowski Films Joyce

    I saw this during a period of extreme emotional stress, probably the best possible mode. It was also surrounded by my listening to "Big Fish," Lynch's book, read by himself. The contrast is astonishing: Lynch's banal aphorisms in the book with rich, multilayered cinematic literacy in the film. Yet another lesson in relative articulation and the notion that an artist often is the worst authority on himself.

    Let's have no mistake: this film is important. I place it on my list as one of the two films of 2006 that you must see.

    There's a lot to say about this. I think I'll let others comment on Dern's attunements, and the general notion of the story having to do with guilt and sexual desire.

    I'll comment only on two aspects which struck me. The first was how Polish this movie is. Its Polish within the story of course: a good half of the action involves Poles. The plot device is a Polish curse that somehow bends time and causality. And there are some Polish locations as well.

    But the thing is shot using Kieslowski's mannerisms. Its a peculiar style that to my knowledge no one else has used. It focuses on two motions: that of the environment as space which governs and changes. And that of the characters in motion, but situated in the spaces. With Kieslowski, he literally splits these in the writer's mind by having his writing partner handle the noir bits, the controlling fate, and he handling the independently sprouting human seeds within. Lynch handles both sides by imposing schizophrenia.

    But its Polish in other ways too. The actor as Golem. The environment as interleaved worlds, each creating the others by being. Its a Kabbalistic concept. Both are characteristically Polish, usually associated with Polish Jews, but more deeply Polish. You can see how Lynch understands this because he quotes "The Saragossa Manuscript," a Polish film about interweaving of kabbalistic worlds and the causal confusion that it brings.

    The second thing is how he exploits this merger of folded narrative -- where actors write new worlds; layered emanations where worlds spawn others -- not parallel but linked in generative fate; geometric cosmology in which each act creates symmetries we encounter elsewhere.

    He does all this by elaborating on the symmetries of cause. Ordinarily something causes something else, never backwards. Here it IS backwards, forwards, sideways -- all the eight dimensions that an advanced student of the Maharishi knows... causal symmetries that have a geometry that doesn't quite merge with the geometry of causality. Oddly, the story does make sense if you simply relax the causality a bit -- its much more accessible than the "Twin Peaks" meander.

    I guess I should say that this is after the manner of the structure of "Finnegans Wake." Its not as elaborate of course. It didn't take 17 years and the deliberate intent of conflating all metaphors. But it is placed in a dream logic, a softening of the walls and hinges of what we make up as the logic of real life. Its Joycean through and through and not -- as some would say -- "surreal" as if anything not real is bent reality.

    I know of a few filmmakers who can work with these notions: Medem, Greenaway, Madden, Ruiz. This is the most delicate and focused I've seen in a long, long while. You really must spend time with it. You must.

    Here's a serious piece of advice though. See Lynch's "Rabbits" episodes first, separately, ideally a week or so ahead. Take them in as a standalone piece, a remarkable piece of film. Some of it is in this film, excerpted, extended, reshot and literally entered by all the Dern characters. But you'd be better having that anchor before starting this tempestvoyage.

    Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.
    9Thelonius_Spunk

    The film Lynch has been working towards all his career

    I just saw this film at the New York Film Festival followed by a Q & A session with David Lynch, Laura Dern, and Justin Theroux. I will try my best to recount my thoughts while they are fresh, and incorporate what the film maker and actors had to say.

    "I can't tell if it's yesterday or tomorrow and it's a real mind f---"

    This single quote from Laura Dern sums the movie up fairly well. It is also one of the self- referential moments of the film that explores the audiences very thoughts while providing some comic relief.

    Lynch's new film, INLAND EMPIRE, is similar to his other work, but unlike anything he's ever done, or I've ever seen before. As one reviewer aptly put it, it is a double reference to Hollywood and the inner workings of the human brain. Before I discuss the substance of the film I will briefly review the technical aspects.

    First of all, the movie is not unwatchable (because of clarity purposes) as some critics had said, although I did see it at the Lincoln Center which has a beautiful theater and top quality facilities. The digital camera works well for this film. It lose some of the cinematic flourish of film, but also brings a more realistic, gritty feel to it that is appropriate for the theme. The lighting and production were top quality as usual for a Lynch film and the score sets every scene brilliantly. Often times we can't tell if the sound is diegetic or non-diegetic, but it makes no difference.

    Lynch said that he used the digital camera to give him freedom. You can see much more movement in this film than his others, giving an almost voyeuristic feel. He also uses many close shots, and as always, obscure framing allowing ambiguity and confusion. Lynch really explores the freedom of movement and editing that is available with digital, and you can feel his energy and zest in the new medium. The moments of suspense and terror are so well done - there are several scenes that will literally make you jump - that I found a Hitcockian brilliance of using subtlety, indirectness, and sound to convey emotion rather than expensive special effects. Of course, there are other scenes that would qualify as downright freaky.

    The movie is completely carried by Laura Dern, and not because she is in 90-95% of the scenes. Her character(s) morph and change so often in identity and time that it is hard to believe it is her in every role. Her range and ability to work consistently over so many years and under the conditions of this film is mind blowing. It is one of the finest performances I've seen by an actress or actor.

    The film itself is hard to summarize. Most of you know the basic plot, but this really means nothing about the film. It has no type of linear story line and the converging and diverging plot lines are connected by only the most simple threads, time, location, memory ("Do I look familiar? Have you seen me before?") identity, and people who are good with animals. It would be a disservice to this film to try to find meaning or symbolism as I see some people already are. It is not a mystery to be solved, as Mulholland Dr. was (though that film never will be solved either). It is a movie that plays off of ideas, color, mood, it presents intangible emotions that we feel and internalize rather than think about and solve. Film doesn't need a solution to make sense, but it is typical for us to want solve things, to have closure. This film is better if you just let it wash over you and surrender the urge to find meaning.

    The three hour running time makes no difference because the movie moves in and out of itself with no regard for time. Using so many scenes allows time to effect the viewer much as the characters themselves. As the characters question time and reality, the audience does too. As the scenes slowly build up, giving us reference, we start to wonder where we saw that character, who said that line before, what location fits into what part of the sequence and how, leading up to the Laura Dern quote I used before. It doesn't ask us to think, but to feel, and it does this better than any film I've seen. It plays on our emotions with intense sound and cinematography, grasping fragments from dreams, sliding in and out of reality, exploring nightmares, and asking us what time and reality really are. The film is also very self-conscious as I said before, and also makes many subtle (and not so) pokes at the audience. It also has some truly surreal moments of Lynch humor.

    Explaining all this doesn't really matter because you will have to see it and take your own idea from it. I would recommend that you see it in a theater though, as it could never have the same impact anywhere else. I was skeptical going into this movie after what I had read, thinking Lynch had gone off the deep end. However, I realized nothing you read about it will make a difference once you see it, and that Lynch is in better form than ever. Ebert said that Mulholland Dr. was the one experiment where Lynch didn't break the test-tube. With INLAND EMPIRE he throws the lab equipment out the window. His freedom in making this movie, both with medium and artistic control, is unparalleled in anything he's done. He finally made a movie for himself and his vision, without any kind of apology or pretense.
    7zetes

    Lost in Lynchland

    For those who felt Lynch's last film, Mulholland Dr., was too easy, I present to you Inland Empire. The director takes the whole dream (or nightmare) narrative a step further and makes the narrative even more fragmented and impossible to follow. There might not really be much of a narrative at all. The recognizable plot begins with Laura Dern as an aging actress, having spent a while as a housewife, trying to re-enter the movie industry. She wins a role and, during filming, she starts to fall for her co-lead (Justin Theroux). Which is strange, given that the film is about a straying housewife. Soon, real life and screen life become completely blurred, until the actress only exists in her fictional life. Maybe. God knows at this point. The film becomes completely incomprehensible by any conventional standards. Which doesn't in any way mean that it's worthless. Like all Lynch films, Inland Empire is deeply hypnotic, often haunting and occasionally downright scary. I wish there were a little more sense to it so I could connect a bit more. And the fact that the film runs for nearly three hours; it's easy to get restless. I think a good number of people are going to find this to be Lynch's folly. It is disappointing, especially as we've waited five years since Mulholland Dr., probably his best film, but there are a few of Lynch's movies that I like less than this.
    Chrysanthepop

    Surreal, Enigmatic, Absurd, Frightening, Painful, Spectacular and a Real Mindf***: It's A Wonderful Treat!

    Shot, in its entirety, with a simple digital video camera, Lynch's 'Inland Empire' isn't different from his other films but it is completely something else. The hand-held DV cinematography gives it a less polished look but works in favour of the film giving it a raw, voyeuristic and gritty feel. The shots are brilliantly clumsy with effective close-ups and long shots. The camera beautifully captures that element of fear, chaos, somberness, isolation and hate. The lighting also works excellently, as it does in almost all Lynch films and 'Inland Empire' too is very colourful like 'Mulholland Drive' and 'Twin Peaks: Fire Walk With Me' but notice the different use in all three films. The soundtrack is mesmerizing and, at times, haunting.

    This may not come as a surprise but one should not expect a linear story from 'Inland Empire' (but that's not to say that there isn't a story). It's pretty much like being stuck in a manipulated time capsule until one is finally released after having 'completed the task'. In spite of the almost 3 hour length, one does not notice the spilling time as 'Inland Empire' jumps from moment to moment and back with no concern for time. The audience, like the characters in the film, also experience deja-vus, losing or rather questioning the sense of time and reality. There's also the Lynch humour to provide some laughter (at times the audience would be laughing at themselves).

    'Inland Empire' is about Nikki/Sue's journey. Lynch bravely paints the picture of his protagonist with passion, sensitivity and delicacy. Centred around Laura Dern's character(s), we pretty much go through what she experiences which is a real mind f***. After a long time, we get to see Laura Dern in a role of substance. In terms of performances, 'Inland Empire' is a one-woman show that belongs to Ms. Dern. The actress is phenomenal and it's a real shame that one of the finest performances in recent cinema has gone ignored. She displays a range of nuances as we get to see her with shades of Betty Elms, Diane Selwyn, Rita (from 'Mulholland Drive') and Laura Palmer (from 'Twin Peaks: Fire Walk With Me')and more. The rest of the cast that includes a charming Justin Theroux, a barely recognizable Julia Ormond, a scary Grace Zabriskie, a 'humble' Harry Dean Stanton and an ambitious Jeremy Irons are all impressive too.

    To say it in a few words, 'Inland Empire' as an experience and an experience can be best understood when a person goes through it rather than read about it. Therefore I'd suggest that one just go and watch it, rather than read about it. I must also add that this is a film that will not appeal to everyone, especially those who do not particularly like this kind of film (duh). It is one film that requires (and deserves) repetitive viewing because the more one watches, the more discoveries to be made. Another terrific achievement of Mr. Lynch!

    Centres d’intérêt connexes

    Jim Carrey and Kate Winslet in Eternal Sunshine of the Spotless Mind (2004)
    Drame psychologique
    Orson Welles in Citizen Kane (1941)
    Épique
    Doug Jones and Ivana Baquero in Le Labyrinthe de Pan (2006)
    Fantastique sombre
    James Stewart in Fenêtre sur cour (1954)
    Suspense et mystère
    Rosamund Pike in Gone Girl (2014)
    Thriller psychologique
    Casey Affleck and Michelle Williams in Manchester by the Sea (2016)
    Tragédie
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drame
    Elijah Wood in Le Seigneur des anneaux : La Communauté de l'anneau (2001)
    Fantaisie
    Jack Nicholson and Faye Dunaway in Chinatown (1974)
    Mystère
    Cho Yeo-jeong in Parasite (2019)
    Thriller

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Marketing executives were so puzzled by the film that they did not know how to promote it. They eventually chose the tagline "a woman in trouble", based on David Lynch's sole explanation of the film as a mystery about a woman in trouble.
    • Citations

      Nikki: The ambulance guys, they say: "What the fuck happened here?" I say: "He come to a reapin' what he had been sowin', that's what." They say: "Fucker been sowing some kind of heavy shit..."

    • Connexions
      Featured in Great Directors (2009)
    • Bandes originales
      Sinner Man
      Traditional

      Arranged by Nina Simone

      Performed by Nina Simone

      Published by Warner Bros. Music Corp. (ASCAP)

      Courtesy of Mercury Records

      Under license from Universal Music Enterprises

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    Production art
    Liste

    FAQ23

    • How long is Inland Empire?Alimenté par Alexa
    • Can someone explain this film?
    • What is with the rabbits and Axxon N?
    • What is the connection to Darkened Room?

    Détails

    Modifier
    • Date de sortie
      • 7 février 2007 (France)
    • Pays d’origine
      • France
      • Pologne
      • États-Unis
    • Site officiel
      • Bim Distribuzione (Italy)
    • Langues
      • Anglais
      • Polonais
    • Aussi connu sous le nom de
      • El imperio
    • Lieux de tournage
      • Lódz, Lódzkie, Pologne
    • Sociétés de production
      • StudioCanal
      • Camerimage Festival
      • Tumult Foundation
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 1 114 878 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 27 508 $US
      • 10 déc. 2006
    • Montant brut mondial
      • 4 308 417 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 3h(180 min)
    • Couleur
      • Color
      • Black and White
    • Mixage
      • Dolby Digital
    • Rapport de forme
      • 1.85 : 1

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