After an hour, nothing is wrong. Laura Dern confuses, or rather feels confused, a line of dialogue from the film in which she plays the reality and not yet occurred a troubled history with the actor of that film. Times are mixed, whether past, present, future, hypothetical or imagined. Times are feared and age, they escape with the lines they had intended. An event occurred earlier takes on its meaning (its full dimension of omen): it was wrong to regard as a comedy scene of the eruption Grace Zabriskie in neighboring bulky in palatial home of Laura Dern. His wife's words senile begin to swell. His focus opens up a world unknown. His speech was contagious: his speech, which was an event film, is perhaps the secret engine of this film. Grace Zabriskie is the neighbor of Laura Dern. She lives next door to her. It is a frontier that Laura Dern will eventually pass. Inland Empire is a film about adjacency. David Lynch has taken the time to juxtapose images, figures. There is the slow sitcom family rabbit, there is the script of the film that Laura Dern is spinning, there is Poland, the jealousy of a husband, the flight of another with a circus, the gang babes, woman the screwdriver, a nun begging God ("chasing the dream of evil that grips my heart), a confessional, and a girl who looks all that crying in front of his television screen. The worlds are next to each other. But these games cons-fields improbable that Lynch has become the king since Lost Highway, they will encroach on each other and mingle. So that Inland Em worst become the story of a woman with rabbits in the head.
The film's strength is its fundamental lack of seriousness. Nothing is serious, and everything is important. We watch Laura Dern die on the pavement, ripped open by the girl with a screwdriver, then forget it, preferring to listen to Japan on crack talking about his friend who has a monkey, a blonde wig, and a hole between her vagina and bowel . Perforated walls are completed. And if the film takes in turn the appearance of a sentimental drama, thriller and horror film, its true direction is the holiday. Hidden under a final party where every face generic brewed by the film come together to dance. The fingers and slamming the world over.
is true of Poland as Hollywood: This is just a backdrop, a place where wandering psyche, clueless, frightened by his own power. Discover that a rabbit in the head is no small matter. And we would like to meet this girl who looks at us with tears on her TV screen. Laura Dern embraces him, kissing him and free him from his office video surveillance. The girl joined the sets of the mind, encounter figures who populated his screen. She is more compassionate envelope - or rather, it is perhaps, but it is inside this time. It does not protect it permeates. David Lynch has built Inland Empire with a big house where the most disjointed figures could live together. The scenes filmed in Lodz seem to happen in the garden of a villa Hollywood. The exoticism expected (Lynch turns to the East!) Was changed into a strange familiarity.
Two crazy stuff: Laura Dern
and dv.
What could have killed the film, David Lynch metamorphosis.
Proof by picture:
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