Inland Empire
David Lynch
USA/Poland/France
David Lynch is a modern day Renaissance man. He is a painter, cartoonist, musician, composer, Paris night club designer and even sells his own brand of coffee beans and designs and makes furniture. He also has a foundation that advocates transcendental meditation and research on its technique and its effects on learning. All that said, he is mostly known for his filmmaking and his unique style, which even has been termed “Lynchian” because while he does have influences on his work, his approach and technique are so singular. Most of his films have a strange sense of terror or dread and the plots follow dream logic which can be impenetrable to the uninitiated. He has been creating his own brand of cinema since he put out his first feature length film in 1977 with his surrealist masterpiece, Eraserhead, which became a cult classic and lead to many works with larger distribution but few compromises to his artistic integrity (Dune is the only thing that comes to mind.)
This brings us to his latest and (rumored) last feature, Inland Empire. The film is highly experimental in structure. It is difficult to explain the plot because I am not even sure I understand it all. In the words of Lynch, it is "about a woman in trouble, and it's a mystery, and that's all I want to say about it." I would also say there are elements of horror thrown in as well. The film follows an actress, played by Laura Dern, down the rabbit hole in a sort of waking dream as the lines between role and reality begin to blur and a murder may have occurred or is going to occur. It is difficult to tell tense as time and the visuals are heavily distorted and disjointed. This may be due to the way the film was made, as Lynch wrote the script scene by scene as he went along during the filming process. For a long time, he did not know how it would end or turn out as the filming took 2 ½ years. Laura Dern and Justin Theroux both play two characters each, so even they were confused about who they were portraying and how the film would turn out. This is the first time Lynch had worked this way, and it is also his first film made on standard definition digital video. The film also has other themes of adultery, jealousy and delusion similar to Lynch's own Lost Highway and Mulholland Dr.
The film can only be described as a nerve-shattering experience and is entirely unpredictable. I sat gripped by the film, anxious for the next scene but frightened by the possibilities that it could bring. Partly due to its length and the way the stress caused by the film never lets up, after the film was over I felt like I had gone through something harrowing. Literally anything could happen at anytime with no rulebook to guide the viewer through the film. Not even seeing other Lynch films can prepare you for this one. Most horror films use eerie or gory imagery to frighten the viewer. Instead, this film uses frightening ideas: you create your own horror with anticipation. I'm not sure my heart has ever felt more present inside my chest – I was sure I could feel it thumping – and sometimes I wanted to stop the film. The film manipulates you through distorted sight and sound to be frightened by things that would otherwise not be scary. Many things that happen are symbolic, sometimes for specific reasons and sometimes things are open to interpretation. I'm not going to pretend I understand everything that happens in this movie and I'm not even sure Lynch or the actors involved could. Some things will always remain a mystery and despite the frustrations that result, it is sometimes necessary. This is a experience where you just have to give yourself to the film and let it take you where it wants to. Go along for the ride and you may learn something about filmmaking. Who knows? Maybe you will even learn a little about yourself.
As far as influences, there are specific points of reference that I could tell you but it would mean little because Lynch's style is everpresent. Some people have refered to the film as his Sunset Boulevard, his Persona or his 8 ½ but I think its structure and form is very reminiscent of Alain Resnais' Last Year at Marienbad. Both films have a dream-like structure and a very divisive style that will either captivate or alienate. There really is no in-between. People have been simultaneously entranced and bewildered by that film for 50 years and it still firmly holds its secrets. The end credit sequence calls to mind the interpretive dance scene at the end of Claire Denis' Beau travail and is, in essence, just for fun. If the rumors are true, it seems as if Lynch knew he would retire from filmmaking after this because there are references to past works in the dance scene, with actors returning from them, such as Laura Harring and Laura Dern is wearing a dress from Blue Velvet. It would make a nice end cap to an distinguished career. It also seems to serve as a celebration or reward for enduring the preceding madness.
Inland Empire is an amazing experience and the work of a cinematic genius, but as much as I would like to recommend the film I think it would be more enjoyable and rewarding to become familiar with other works directed by the artist first. It isn’t for the uninitiated. Definitely see Lost Highway and Mulholland Dr. first because they share themes and form a sort of very loose thematic trilogy. Additionally, check out Blue Velvet, Eraserhead, The Elephant Man and Wild at Heart because they are all brilliant as well. Also, you know if this kind of thing is for you already if you can sit through a three hour film that does not explain itself whatsoever to you. The plot is in your head and you have to actively puzzle it out. The film does you no favors. I, myself, understand maybe a quarter of the film, and I may someday understand another quarter. Another quarter will probably remain a complete mystery to me and the final quarter was simply there to throw you off the right track. I wouldn’t have it any other way.
Rating: 9/10
-Ryan Sallows
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