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Inland Empire was a tough experience for many avid fans lynchiani, someone said: ".. go beyond anything that is not always a good thing .. we are talking about the end of cinema. If you take all the dogmas of the film are destroyed and you are no longer doing movies, but you are doing other things, alas I can not classify .. ".
Here. This is precisely the central point of discussion around the Inland Empire, and is the reason for our choice.
addition to overcoming some aspects of the film itself (some other viewer asked, Lynch has raised so much exceeding the cinema and the audience raised on it or just himself?) Is an innovative film (I mean not only structurally also technologically , all shot in digital), defined by the dictionary of cinema as "shocking and disturbing sensory experience in the depths of the mind."
The disagreement among the spectators (among fans), the short-sighted criticism of the hasty trial, confirms that the author is perfectly able to create the masterpiece he wanted unanimity would have worried, the new is confusing, since it would not be otherwise ... that granted the giggles, the bewilderment, the exodus from the hall at the end of projection, but also the fear, the wild-eyed, shocked, lost. Lynch
not send messages and does not want to teach anything, his work makes him think of himself and not rashly to the viewer: this is all over Inland Empire, it could be his last (for the total form and then because after these three hours Uncompromising who has the courage to produce others?).
experience more than just a vision. A movie not organic, non-linear audio-visual stream of thought of an artist who is self-explanatory, but only intuition, personal emotions, beyond the positive and negative. A workings of de-structuring also very philosophical. We could talk about parallel worlds, the overlap between art and life, waking and dreaming, reality and fiction come together, meet, leave, film and digital, the concept of time, non-sequential and absolute.
But the film does not take place only in a way and in a world. There are more ways to cross first worlds.
The dream world of course, be understood to mean also that the nightmare, the inner world of characters, the protagonist's dark inside.
Then there is the idea of \u200b\u200bpossible worlds, of alternative worlds, all life really takes a lot of forks and then builds a lot of possibilities to choose only a few; but these possibilities remain unanswered taken not to interpret part of our existence, "The Garden of Forking Paths" as the title of the story by Borges, but sometimes the situations as well as fork end up back on themselves (ring Moebius).
Compared to films like Lost Highway, Inland Empire in the structure does not follow the pattern: early-branching-plot-return to the starting point, that this pattern exists, but is continuous and more twisted. You probably already foreshadowed
Mullholand Drive latter path Lynch even though his style remained.
This time, the sleep of reason, however, is even deeper, and generated even more monsters free to move within a maze walls are very thin ..
The viewer is projected into a home by broken mirrors, arranged to reflect hopelessly distorted images, arranged in such a way as to justify, to then deny it after every attempt to trace a linear path.
This is perhaps the film that Lynch can not go back to the plot is commonly understood, the more complex for those who want to strive to rebuild the puzzle, with even more fragmented and dilated elements (the film runs nearly three hours). Some elements remain lynchiani: guilt and responsibility, crime and punishment, unable to escape their guilt, or Ghosts Ghosts-abstractions which (Useless) or escape (sometimes) objectification of moods.
time disappears and you lose a space to contain it, it looks a mutable reality, not defined; mounting destroys the logical paths and getting lost in reversing shift of power (lost) time ("If today was tomorrow").
There is in fact even in the Inland Empire can find the general line of the story. It would be possible to analyze almost all the fragments of the film, find the joints between the universes crossed, reaching the final canvas. It could be trivialized as does the trailer, "a story of a woman in danger and the darkness of his fears and his unconscious." But it is not what you see in the film. And this operation of reconstruction is not interesting for what it is Opera.
Throughout the movie, overall, the story unfolds, even if fragmented, but know a version of events is not needed, however: we do not know now what is before our eyes, it is not clear what is already within us. But I do not know how to explain, I understand. For someone if there's nothing to understand, then there is nothing in the film. Yet there is within us, there is, something that lives outside the world of words, over the habit and meanings: a chaos destabilizing and troubling, that multiplies the pleasure of aesthetic enjoyment, there is the frightening ecstasy in loss and is not a trivial matter.
Lynch has come in his last film in dissecting the film: the body of Inland Empire, however, is just crazy fun to be a surgeon: it has decomposed completely and impressively what we call "film" has reversed the positions, to finally give life to this "new being." This "new" is difficult to define.
The film is dark, moves beneath the walls of a dark universe, and yet the vision of the world is broader and more complex (not a thriller or a horror), not summarized, with areas of light and dark areas that twist.
Inland Empire has a unit of composition and structural organicity that might go unnoticed if the film is described only as a simple juxtaposition of sequences absurd and paradoxical - as masterfully framed and shot. Consider only illogical, surreal, delirious, it means make him a great wrong, it means not to recognize the influences that make it a transcendental path of light released.
Conversely, to interpret, under a strictly psychological - as a dissociative syndrome - is to confine them in an uncompromising scheme, only to stifle the spiritual resonances, very strong.
Inland Empire is a film incommunicable. Do not understand. But incommunicable. The
spectator, as witness the film will not be able to tell what he saw, from which it was held in his abandonment to the image, using the words.
A critic never be able to write a review with a plot ... Inland Empire Opera is not understandable to anyone who wants to describe. If for some psychology
"the unconscious is structured like language", then as stated Carmelo Bene is the reverse: "the language is structured like the unconscious."
Lynch dismantles language, it investigates the blacks holes, leaving the viewer in the only possible, or abandonment.
should not judge, look for the message, investigate the plot, or even whether the film is optimistic or pessimistic, but must suffer the effect, than the structures we are accustomed to the ordinary film and television, to allow cross flow audiovisual.
Lynch's vision so as abandonment, to the image.
"Let the film watching you" Every
Lynch film unfolds its ability to argue through the image: we often say that we are in the "company image", we are surrounded and bombarded by advertising from the Internet by media, but even we young we still have a very low ability to interpret and, above a low confidence in what is the power of the image, that the image has the capacity to build thinking, drawing of view, without necessarily bring everything in the word.
The Master does not want to hear. It is not a ban
sense to build around those images, but on the contrary, a call to de-structuring and de-construct, to draw fluid semantic paths, wandering paths, and especially subjective.
Lynch's films this is explosive, than the language, is departing a number of very innovative narrative and stylistic tendencies (among other things, there is no script), then it is a psychological characteristic: the characters do not live an identity finally resolved, but there is a competition between narrative solutions and world views in the characters that they never find peace, never abstract.
centrifuge roles, the actors, the eyes become cyclical, circular, (re) see themselves in this future that has already been, the lines are mixed up (now spoken by a character, now with another, and then repeated several times as if looking for an anchor on which to pin), the bodies of the actors appear to be inert, fetishes seized the moment to help make them work. Being
-other (itself) or may be the same as its opposite, the absolute darkness of a path that can (not) lead nowhere (in particular), in an elsewhere (Including film) disorienting, the self becomes absolutely other, "other" who is forced to face the first to recognize visually ("I've already seen before?") In all its otherness, or perhaps as a duplicate set of consciousness.
In the film there is never the possibility of bringing a concept to an end, the situations are not realized, and this imbalance in the audience remains at the center, vibrato and tense, among other solutions left open, unresolved, through these worlds fictional as the release of emotions, tension or anxiety.
This music is central to Lynch's films, representing fully the idea of \u200b\u200bletting ourselves be overcome by feelings; the sound inside of us and that is why it is the same director to choose, mix and create some music for his films.
this extraordinary bombardment of images and sounds the viewer can not react and lose orientation. This feeling of imbalance is increasingly rare in films.
Inland Empire is an exploration, an experiment, a known cross borders and verify the capabilities and limitations. By destroying the cinema. A masterpiece.
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