Império dos Sonhos

Much can be said about David Lynch but I think the mistake most people make is to think that he is trying to create a coherent and straight forward narrative structure. He is working on a subconscious level in his mind. The idea comes before the reason behind the idea. In many ways this is how art should be created because any other way will feel forced and pretentious.

David Lynch is not just trying to f*k with you. Its not meaningless and its not pretentious. If you've ever seen his interviews he is one of the most humble and soft spoken directors I've ever seen. Justin Theroux did a Q & A after my screening of Inland Empire and he described working with lynch as light hearted and fun. The complete opposite of what its like to watch some of his films which are often dark, terrifying, and disturbing.

Inland Empire is a sister film to Mulholland Dr. As my wife put it, "Watching Mulholland Dr. helped me to understand Inland Empire." They are two sides of the same coin. Lynch still seems to want to take a stab at the evils of Hollywood. His concern for the well being of actors is strong but this time instead of a new comer (Naomi Watts) he deals with one older actresses come back role and like Mulholland Dr. their are the evil producers behind the scenes and even the added possibility of a cursed set.

I am a huge Lynch fan. I don't find his films hard to understand. I am not a very intellectual person but Lynch's themes are so simple. The visuals are to be enjoyed on their own terms especially when they seem not to fit with the rest of the film. A lot of lynch's trademarks return, the dual personalities, time folding in on itself, gratuitous nudity, and another tragic murder mystery.

While this film does feel like a retread of Mulholland Dr. it also stands on its own especially since it contains a much more upbeat ending and perhaps four layers of storytelling,good luck figuring out which is which. He also continues to experiment with sound and even sings the vocals to a song in the film.

I got exactly what I wanted from Inland Empire. The downside to this is that Lynch is sort of repeating himself and I hope that doesn't mean he's out of ideas or perhaps Mulholland Dr. did not yet exercise his disdain for the studio system. The film is part murder mystery and part lucid dream. It has dream logic and has a lot of fun with some of its bizarre dialog and incredible visuals. This film also has much in common with Eraserhead in that he's completely free to explore his ideas. No one is telling him to shorten the film, cut out scenes, or that it doesn't make sense. Its uncompromising and truly art without boundaries.

My only other criticism is that the digital video is just ugly at times. When the shot is static the amount of detail in the picture can be incredible but when its hand held and moving around its grainy and looks pretty terrible. I miss the polished look of his older films but I guess that is going to be another thing that sets this movie apart from the others. I highly recommend this film to the Lynch enthusiast and to no one else. If you aren't in on the joke then I cannot imagine you leaving the theater happy after three hours of pure, free from concentrate, unpasteurized lynch. I went to see this with my wife and my best friend needless to say only I loved it. Take that as you will.

4/5

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.

An actress's perception of reality becomes increasingly distorted as she finds herself falling for her co-star in a remake of an unfinished Polish production that was supposedly cursed.

David Lynch is an inspiration for those who want to do their own thing. He started with some creepy, surreal short films, moved on to the bizarre "Eraserhead" and has made numerous strange films since, seemingly with little regard for what critics or box office receipts say. While he has done some stories that border on normal, there is always an element of the bizarre, and trying to make sense of a plot in a Lynch film is an intellectual landmine. I fell in love with Lynch after seeing "Lost Highway" and "Twin Peaks", but find it hard to justify my love.

"Inland Empire" continues the madness. Opening with a beautiful shot of a record player in black and white, then of a couple making love... we are soon greeted by a family of anthropomorphized rabbits, and two gentlemen having a discussion in some foreign language, apparently Polish. How any of these things are connected is unclear thus far, and that is only the first ten minutes of a three hour film. How well they make sense by the end is hard to say.

The film goes "normal" after that, through we enter a world with odd camera angles, mismatched close-ups, and conversations that do not flow... a murder accusation, an agent on the telephone... and all words spoken in an unusual manner. Almost in an amateur way, but clearly professionals trying to be amateur, with emotions not matching the events. And then there is William H. Macy as an announcer...

On top of already being a lengthy and interesting film, the DVD comes with a second disc with several hours of supplemental material. My only complaint is that, despite all this, the film only has subtitles available in French. I like subtitles. Maybe I am in the minority, but as a visual learner, I follow a story better when I can read along. And I cannot read French well.

Lynch veteran Laura Dern stars (and co-produces), which is beneficial to the film, because she knows exactly what sort of weirdness Lynch is looking for. I think the film fails, or at least falls short, though. The running time is a bit too long and it is hard to stay focused for this length. Also, the film just does not seem to have enough. While starting out strong, it gets slow and monotonously as it carries on, and any intelligent point hidden in there is missed by the audience's boredom. I appreciated the inclusion of the randomness, such as the "Locomotion", but of all the Lynch films I have seen (which is many) this is my least favorite.

If you must see every David Lynch film, see this film. If you can survive without that goal, do not see this film. I cannot recommend it to anyone except his biggest fans because everyone else will be lost, bored and leave with a lower opinion of the man than he deserves.

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.

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.