AFI FEST

by Ari

Inland Empire - David Lynch
 
David Lynch is undoubtedly one of the most singular, visionary filmmakers working in film today. His sensibilities are completely his own - his ambition unlike any of his peers. Lynch has established himself as a great experimenter of cinema, a filmmaker who insists on pushing the medium in new directions and exploring its different possibilities. This sort of complexity naturally divides audiences, since daring, challenging work usually appeals to a smaller, more open-minded crowd. Lynch has earned himself a strong following with his experimental and esoteric nature, and demonstrates the skill of a true original. His career is admirable at the very least. Whether or not his sensibilities work for you is another case.

I’ve had a mixed reaction to his career thus far, enjoying a couple of his films, while feeling distant and unsatisfied by most of them. I’ve always admired what Lynch has done for as long as I’ve known his work, but I’ve never found myself enthused by it outside of the mesmerizing Blue Velvet. Inland Empire is probably his best film since. A fascinating mess of ideas and atmosphere, this picture is a bold, unforgettable statement on how film is perceived and how it can evolve. This film deconstructs the idea of an organized narrative completely. There is indeed a story to follow with Inland Empire, as difficult and wild and unhinged as it is. However, the story is hidden deep beneath the puzzle of the film’s structure. Lynch reveals new layers of the story after every sequence. These ideas follow this incredibly complex, circular pattern - one that most people will find exceptionally frustrating.

While Inland Empire leaves itself open to interpretation, the actual twists of the story (which there are dozens of) are not necessarily the answers or meaning to what's occuring on-screen. Lynch eventually ties everything together nicely, but the emotional climax is almost beside the point. The puzzle itself is the movie. The labyrinthine structure is meant to challenge how cinema itself is supposed to work. Audiences have always been comfortable with linear, clearly designed thematic and emotional storytelling. Most people, even the most ardent film-lovers, look for the essential qualities a film must have in order to be considered good or great. Lynch includes all of these elements (characters, visuals, theme, etc), but presents them with a completely new freedom. It seems as though Lynch based Inland Empire on the idea that he would re-explore the notion of cinema itself. Because of this, Inland Empire is a glorious mess, a film that demands on taking chances with structure, pacing, visuals, performance, sound, and theme. It’s entertaining and maddening - the absolute most uncompromising vision film has seen in years. Inland Empire is a 3 hour experiment in filmmaking that deserves to be seen for its sheer originality. Lynch reminds of me Jackson Pollack here, dripping paint onto a canvas with an intense feeling of expression, and eventually creating something with real artistic merit. Inland Empire is the sort of film to discuss and chew on over the years, a work that will inspire serious debate and analysis.

The story is essentially a greatest hits of Lynch’s career. The cast is mostly Lynch regulars, lead by Laura Dern in her career-defining performance. The easy description of the story is as follows: Nikki (Laura Dern) is an actress who lands a part in Kingsley’s (Jeremy Irons) new film, “On High With Blue Tomorrows”, alongside famous co-star Devon (Justin Theroux). According to Hollywood legend, “On High With Blue Tomorrows” is a remake of an unfinished film that cancelled production because its two lead actors were murdered during the shoot. As Nikki films her part for the remake, her life slowly descends into madness, with the real and surreal unraveling into an epic plot involving Gypsy folktales, movies within movies, musical numbers, and people in rabbit suits. Yep, this is 100% Lynch from beginning to end.

It’s impossible to discuss the complexities of the puzzle after only one viewing. I’d say the first sequence with Laura Dern and her neighbor “from around” is the most important piece of information regarding the story. Once Inland Empire hits the 90 minute mark, it’s pure chaos till the end. By the time you reach the moment of Laura Dern throwing up blood on the sidewalk of Hollywood and Vine, you’re exhausted and overwhelmed by Lynch’s vision. Lynch is particularly skilled at creating suspense and horror. There are images, sequences, and performances that convey terror with incredible power. The tone and atmosphere is dark and brooding, with a strong, eerie soundtrack underscoring the mood. Inland Empire is shot entirely on dv, which gives the film a seedy, claustrophobic, and plain bizarre look. The technique is reminiscent of the Japanese film Bright Future, which also used digital for a dangerous, mysterious edge. Most surprising about Inland Empire is how dryly funny it is. The humor occurs in odd places, but then again, there’s nothing normal about this film.

Inland Empire is a mesmerizing dissection of cinema for anyone interested in ambitious, experimental work. Fascinating.