Inland Empire

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.

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.

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.

No seriously. WTF. Ignore my rating because a movie like this defies any kind of a linear rating scale. My real rating is: WTF stars. Everyone else can write their absurd words about the film but the only thing a normal honest person can say after watching this is... what the actual f**k did I just watch?

Seriously, watch the film then come back to this review and tell me it isn't the most accurate summation of the film on here.

Side note: Laura Dern seriously does give an incredible performance. No one quite captures the true essence of WTF like Laura. She really does elevate the film to higher levels of "WTF-ness" than it ever would achieve on it's own.

For real though. What the actual f**k?

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!