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‘Twin Peaks’ Review: Part 8 Aims for Maximum Weirdness and Succeeds

7 hours ago | Indiewire | See recent Indiewire news »

Last Week’S Review: Part 7 Leaves More Clues Than We Can Count as David Lynch Digs Deep Into the Past

Were there more than 20 lines of dialogue spoken in tonight’s “Twin Peaks”? All signs point to no. In perhaps what was the most existential and absurd installment yet of the surreal drama’s return, David Lynch’s attention shifted from a bloody confrontation in the woods to a journey through time and space that barely touched on the modern day. Instead, “Part 8” tripped back to the past for a largely silent (dialogue-less) series of events (it feels a bit much to refer to them as “a story” at this stage) that of course did not skim on harsh violence and strange mannerisms.

Everyone is going to come to Part 8 with their own interpretations and theories; it’s an installment which seems to welcome that. And pieces of it are more successful than others. »

- Liz Shannon Miller

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‘Twin Peaks’ Review: Part 8 Aims for Maximum Weirdness and Succeeds

7 hours ago | Indiewire Television | See recent Indiewire Television news »

Were there more than 20 lines of dialogue spoken in tonight’s “Twin Peaks”? All signs point to no. In perhaps what was the most existential and absurd installment yet of the surreal drama’s return, David Lynch’s attention shifted from a bloody confrontation in the woods to a journey through time and space that barely touched on the modern day. Instead, “Part 8” tripped back to the past for a largely silent (dialogue-less) series of events (it feels a bit much to refer to them as “a story” at this stage) that of course did not skim on harsh violence and strange mannerisms.

Everyone is going to come to Part 8 with their own interpretations and theories; it’s an installment which seems to welcome that. And pieces of it are more successful than others. »

- Liz Shannon Miller

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‘Twin Peaks': David Lynch Just Declared War on Recappers – Anybody Gotta Light?

7 hours ago | Collider.com | See recent Collider.com news »

Well, Chris picked one hell of a week to be off recapper duty and for me to fill in. Did he get insider info? Twin Peaks’ “Part 8” was 100% Pure Distilled David Lynch, as in down to the elemental molecules of the man. Bob bubbles! Nukes! Frog wasps! Egg vomit! Cosmic Laura Palmer gold ball! Metallic scratching alarm intensifications! The original Twin Peaks was a force of nature, changing the TV landscape in its two brief seasons by opening the door to cerebral, horror-filled, off-the-wall dramas that would dominate the “Prestige TV” landscape two decades later. … »

- Allison Keene

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Movie Review – Gremlin (2017)

15 hours ago | Flickeringmyth | See recent Flickeringmyth news »

Gremlin, 2017.

Directed by Ryan Bellgardt

Starring Adam Hampton, Kirsty K. Boone, Christian Bellgardt, Katie Burgess and Connie Franklin

Synopsis: 

When an estranged family member delivers a mysterious box to his house,  Adam Thatcher initially thinks nothing of it. However, it soon becomes apparent that the metallic container actually has a clock engraved on it, one that begins ticking down with immediate effect. Whenever the dial moves a notch, an ancient creature emerges from the box and kills someone that Adam cares about. Worse still, it transpires that the only one way to prevent this from happening, is to willingly pass the vessel along to someone else, thereby resetting the countdown. Adam is thus faced with an agonising dilemma. Either allow the timer to count down (and let the bodies pile up) or pass the terrible curse along.

Passable monster-design aside, Gremlin is a textbook example of squandered potential, wasting a »

- Harrison Abbott

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Madchen Amick on Reuniting with David Lynch on ‘Twin Peaks’ & Her Role in ‘Riverdale’ Season 2

18 hours ago | Collider.com | See recent Collider.com news »

Directed entirely by David Lynch, the 18-part Showtime limited events series Twin Peaks: The Return picked things up 25 years after the inhabitants of a quaint northwestern town were stunned by the shocking murder of their homecoming queen, Laura Palmer (Sheryl Lee). While viewers are catching up with many familiar characters and learning about where their lives are now, they’re also getting a glimpse into some new characters, living their lives in other locations around the country. During this 1-on-1 phone interview with Collider, actress Mädchen Amick (who plays Shelly Johnson, a Twin Peaks local … »

- Christina Radish

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‘Game of Thrones’ to ‘Twin Peaks’: Here’s Why Your Favorite Quirky Characters Wear Eyepatches

24 June 2017 5:30 AM, PDT | Indiewire Television | See recent Indiewire Television news »

TV is full of characters that wear eyepatches for various reasons, and sometimes it’s simply to stand out among a huge cast.

When it comes to dramas like “Twin Peaks” or genre series like “Game of Thrones” or “The Walking Dead,” massive casts of characters allow for variety, whether it’s the run-of-the-mill diner waitress or the sword-swinging knight or the eyepatch-wearing neighbor.

Read More: Why One Company’s Attempt to Censor the Show Is the Worst Idea Ever

At the most basic level, an eyepatch sets a character apart, giving them a dangerous, rakish or even quirky air. Beloved by stereotypical pirates, the eyepatch has also been used to indicate that someone is a seafaring person.

But often, the eyepatch is used to signify some sort of trauma in the past. It’s also an easy way for a character to visibly show a badge of suffering without »

- Hanh Nguyen

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‘Game of Thrones’ to ‘Twin Peaks’: Here’s Why Your Favorite Quirky Characters Wear Eyepatches

24 June 2017 5:30 AM, PDT | Indiewire | See recent Indiewire news »

TV is full of characters that wear eyepatches for various reasons, and sometimes it’s simply to stand out among a huge cast.

When it comes to dramas like “Twin Peaks” or genre series like “Game of Thrones” or “The Walking Dead,” massive casts of characters allow for variety, whether it’s the run-of-the-mill diner waitress or the sword-swinging knight or the eyepatch-wearing neighbor.

Read More: Why One Company’s Attempt to Censor the Show Is the Worst Idea Ever

At the most basic level, an eyepatch sets a character apart, giving them a dangerous, rakish or even quirky air. Beloved by stereotypical pirates, the eyepatch has also been used to indicate that someone is a seafaring person.

But often, the eyepatch is used to signify some sort of trauma in the past. It’s also an easy way for a character to visibly show a badge of suffering without »

- Hanh Nguyen

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‘Twin Peaks’ Actor Brett Gelman Reveals David Lynch’s Secretive Casting Process

23 June 2017 4:07 PM, PDT | Indiewire Television | See recent Indiewire Television news »

Brett Gelman had no idea what was going on. He arrived on the set of “Twin Peaks” to play Burns, the supervisor of a casino where a dazed Dale Cooper (Kyle MacLachlan) was winning one jackpot after another. Other than that? Pure mystery. Somehow, the long-lost FBI agent had escaped the interdimensional “Black Lodge” where the show had left him trapped 25 years ago. Gelman’s character was tasked with confronting Cooper about his massive haul. In between takes, Gelman recalled saying to MacLachlan, “I can’t wait to see what this all means.”

“Yeah,” MacLachlan replied, “Me too.”

Lynch’s latest round of episodes with the cult show was surrounded by so much secrecy in the months leading up to its premiere that even the actors were left in the dark. Gelman only found out about his role from his Los Angeles neighbor, Johanna Ray, who happened to be the show’s casting director. »

- Eric Kohn

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‘Twin Peaks’ Actor Brett Gelman Reveals David Lynch’s Secretive Casting Process

23 June 2017 4:07 PM, PDT | Indiewire | See recent Indiewire news »

Brett Gelman had no idea what was going on. He arrived on the set of “Twin Peaks” to play Burns, the supervisor of a casino where a dazed Dale Cooper (Kyle MacLachlan) was winning one jackpot after another. Other than that? Pure mystery. Somehow, the long-lost FBI agent had escaped the interdimensional “Black Lodge” where the show had left him trapped 25 years ago. Gelman’s character was tasked with confronting Cooper about his massive haul. In between takes, Gelman recalled saying to MacLachlan, “I can’t wait to see what this all means.”

“Yeah,” MacLachlan replied, “Me too.”

Lynch’s latest round of episodes with the cult show was surrounded by so much secrecy in the months leading up to its premiere that even the actors were left in the dark. Gelman only found out about his role from his Los Angeles neighbor, Johanna Ray, who happened to be the show’s casting director. »

- Eric Kohn

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Great Job, Internet!: 2017’s most avant-garde documentary was filmed inside a ’90s superstore

23 June 2017 3:45 PM, PDT | avclub.com | See recent The AV Club news »

David Lynch must be kicking himself right now, because his attempt to induce a mass meditative state by making viewers watch a guy sweep the floor on Twin Peaks just got one-upped by a Washington woman’s dad. As Willamette Week explains, Kellie Rogers took some old tapes from her dad’s VHS camcorder to be transferred to DVD, only to discover that one tape contained a 26-minute chunk from the camcorder’s former life as a floor model in the electronics department at a Washington State Fred Meyer store.

Intrigued by the camera’s unblinking look into the everyday life of a ’90s superstore, Rogers took the tape to Reddit, whose detectives were able to determine that the footage was shot in the spring of 1992, thanks to the presence of Garth Brooks’ Ropin’ The Wind, the Wayne’s World soundtrack, Slaughter’s The Wild Life, and Pantera’s »

- Katie Rife

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Karlovy Vary International Film Festival Celebrates Critics Choice Movies

23 June 2017 10:15 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Variety Critics Choice celebrates its 20th anniversary as a key Karlovy Vary International Film Festival section.

Animals

Switzerland-Austria-Poland

If you can’t trust the talking cat, whom do you trust? Such are brain-frying quandaries viewers may face deep into the darkness of this deliciously unhinged, blood-laced adult fairy tale from Swiss-Polish writer-director Greg Zglinski. Setting out with real-world levels of macabre nastiness as it wittily probes the marital faultlines between a bourgeois Viennese couple attempting a restorative Alpine getaway, the film takes a smooth, almost imperceptible left turn into David Lynch-worthy realms of illogic that will leave adventurous audiences both rapt and dazed, dreamily uncertain of where exactly they lost the plot. Unraveling this cat’s-cradle isn’t half as important or pleasurable as getting entangled in it to begin with. Zglinski’s espresso-dark humor and icy formal precision may nod to a host of expert cinematic mind-gamers, from Roman Polanski to Lars von Trier, but “Animals” gleefully cultivates its very own kind of crazy.

Guy Lodge

Columbus

U.S.

There’s an old saying, often attributed to Martin Mull: “Writing about music is like dancing about architecture.” In many ways first-time writer-director Kogonada’s “Columbus” treats architecture like music, as its protagonists write, talk, bicker and dance about an extraordinary collection of modernist structures in the unassuming Midwest town of Columbus, Ind. The hypnotically paced drama carried by the serendipitous odd-couple pairing of John Cho and Haley Lu Richardson is lovely and tender, marking the mono-monikered Kogonada as an auteur to watch. The relationships between each of the characters are imbued with warmth and humanity, and the filmmaking — like the city’s structures designed by the likes of Eero Saarinen and I.M. Pei — are gorgeous. In this unconventional American film, Kogonada is less interested in romance than in the characters’ overlapping and divergent worldviews and dreams, based on culture, environment, and upbringing.

— Geoff Berkshire

The Distinguished Citizen

Argentina-Spain

Taciturn novelist Daniel Mantovani (Argentine star Oscar Martínez, who won the best actor prize at the Venice film festival for his performance) has an ambivalent relationship to fame: It has brought him the kind of wealth few authors can ever imagine, yet he’s concerned such success means he’s not the challenging writer he was at one time — an idea that’s amusingly conveyed in the opening scene, when he voices his fears while receiving the Nobel prize. Five years later, the Barcelona-based author remains too much in demand, politely declining most offers, until he gets a letter from his hometown of Salas, Argentina. It’s been four decades since he’s been back, despite using Salas as the setting for all his stories, and his return provides not only humor, but poignant insights into such themes as the burden of success, lost ideals, and whether artists truly give back to the communities they’ve creatively mined for decades.

— Jay Weissberg

God’s Own Country

U.K.

In case it didn’t court “Brokeback Mountain” comparisons directly enough with its tale of two young sheep farmers finding love in a hopeless place, “God’s Own Country” seals the deal with one winkingly quoted shot: a work shirt draped on a wire hanger, poignantly removed from its wearer. Twelve years on, Ang Lee’s film has proven enough of a cultural milestone to merit such affectionate homage; luckily, Francis Lee’s tender, muscular Yorkshire romance has enough of an individual voice to get away with it, depicting a tentative romance between coarse English farmboy Johnny (Josh O’Connor) and the Romanian migrant worker Gheorghe (Alec Secareanu) who comes to work for the season. Intimacy doesn’t come naturally to a man who has been raised in a household where caring is expressed through work, but rather than over-exerting well-worn clichés about rural homophobia, the film reveals pockets of tolerance in unexpected places.

Guy Lodge

Heal the Living

France

A 17-year-old car crash victim lies brain-dead in a hospital, as doctors urgently pitch the virtues of organ donation to his distraught parents; over in another town, a middle-aged mother of two with a severely degenerative heart condition goes on the waiting list for a transplant. What sounds like fodder for a routinely gripping episode of “ER” is complicated with rare depths of personal and sensual detail in French director Katell Quillévéré’s sublimely compassionate, heart-crushing third feature. More polished but no less authentically humane than her previous works “Suzanne” and “Love Like Poison,” this spidering ensemble piece — adapted from Maylis de Kerangal’s internationally acclaimed 2014 novel — boasts beautifully pitched performances from the likes of Tahar Rahim and Emmanuelle Seigner. But it’s Quillévéré’s soaring visual and sonic acumen that suffuses this sad, potentially familiar hospital drama with true grace.

Guy Lodge

Hounds of Love

Australia

An outwardly normal suburban Perth couple who abduct, torture, and murder schoolgirls must face their funny games in this genre-bending powerhouse thriller from first-time director Ben Young. Brave audiences will be rewarded, if that’s the word, with a harrowing ride that morphs from discrete horror to probing character study and back again in a vivid yet admirably restrained 108 minutes. Far from Michael Haneke-level lurid, the film generates a coiled depravity and almost unbearable tension from the determined tracking shots of cinematographer Michael McDermott and Dan Luscombe’s trance-like, Tangerine Dream-inspired score. Clayton Jauncey’s production design is detailed and evocative, keyed around kitchen knives. For such a bold film to work, the performances must be all-in, and the three leads are committed to Young’s vision: Ashleigh Cummings is fearless as the would-be victim, while Emma Booth is terrifyingly skittish and Stephen Curry (who is, believe it or not, a popular Australian comedian) redolent of pure evil.

— Eddie Cockrell

Lost in Paris

Belgium-France

As anyone who has seen “L’Iceberg” and “The Fairy” knows, Abel and Gordon are quite possibly the two funniest clowns working in cinema today. No, really: Dominique Abel is a Belgian-born, burlesque-trained human pretzel and gifted physical comic on par with Chaplin or Keaton, while real-life Australian wife Fiona Gordon is a Tilda Swinton-tall redhead with Olive Oyl elbows and an Easter Island profile. With their latest film, they take audiences to Paris, where she plays a shy librarian desperate to find her missing Aunt Martha (the final role of “Amour” star Emmanuelle Riva), while he plays a harmless hobo who pops up practically everywhere she goes. Let the comic situations begin as this duo travels from one corner of the city to another (nearly getting incinerated at Père Lachaise cemetery one moment, dangling from the rafters of the Eiffel Tower the next), creating some of the funniest moments you’ll see on screen all year.

— Peter Debruge

Merry Christmas Mr. Mo

South Korea

A droll comic drama filmed in glorious widescreen black-and-white, “Merry Christmas Mr. Mo” follows a terminally ill barber (played by distinguished character actor Ki Joo-bong) whose dying wish is to make a short film directed by his distant son. What might have been a mawkish exercise in implausibility is instead fashioned into a consistently amusing and frequently touching tale of love, family and reconciliation with the past. Played to deadpan perfection by an appealing cast and directed with impressive assurance by first-time feature helmer Lim Dae-hyung, this lovely tale channels the spirit of early Jim Jarmusch films such as “Stranger Than Paradise” into its ultra low-key humor, dialogue non-sequiturs and loving monochrome photography of notionally unremarkable locations. Without ever succumbing to sentimentality, this offbeat crowd-pleaser will also move many viewers to tears by the time Mr. Mo’s task is completed.

Richard Kuipers

Strawberry Days

Sweden

Every summer, the Polish workers come to the Swedish countryside and pick strawberries. They tend the fields all day and keep to themselves at night, while the landowners hardly bother to learn their names. It’s a cycle as sure as the seasons themselves, though this year is different as one of the foreign fruit-pickers’ kids is old enough to take an interest in the host family’s daughter, and there among the strawberries a case of young love blossoms for the first time, complicating the entire arrangement, for the migrant workers are expected to make themselves invisible. In this sensitive, sun-kissed teenage romance, Swedish director Wiktor Ericsson invites us to recognize and identify with these faceless outsiders, asking for equality on the simplest terms. Though the setting may be specific, its appeal is universal, boasting a texture so rich, you can practically smell the ripe strawberries in the air.

— Peter Debruge

Those Who Make Revolution Halfway Only Dig Their Own Graves

Canada

With its multiple aspect ratios, on-screen quotes, and cutaways to news broadcasts and documentary footage — not to mention a musical overture and interlude — this three-hour Quebecois political epic unfurls with a bravado as outsized as its title. Inspired by the student demonstrations that sparked the Maple Spring in 2012, co-directors Mathieu Denis and Simon Lavoie apply the language of radical cinema to a tense, mournful and profoundly ambivalent portrait of radicalism. Following four far-left activists as they commit acts of vandalism and terror to foment an uprising against the capitalist system, the film channels their passion while insistently questioning their methods and perspective. Politics aside, the dynamics at the film’s heart are practically universal among youth movements, resulting in a bold portrait that pulses with the vitality of four young people who, however flawed or foolhardy, sincerely want to change the world.

Scott Tobias

Related storiesKarlovy Vary Film Festival Honors Talent Working in Front of and Behind the CameraFuture Frames Showcase at Karlovy Vary Casts the Spotlight on Promising Creative TalentKarlovy Vary International Film Festival Showcases Stories of Social Turmoil »

- Variety Staff

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Was Orphan Black Off Its Clone Game? Another Wayward Sis for Supernatural? Twin Peaks Hint Pays Off? And More Qs

23 June 2017 10:01 AM, PDT | TVLine.com | See recent TVLine.com news »

We’ve got questions, and you’ve (maybe) got answers! With another week of TV gone by, we’re lobbing queries left and right about shows including Orphan Black, Better Call Saul, Supernatural and Pretty Little Liars!

1 | Regarding Reign‘s series-ending time jump, TVLine reader Melissa asks, “21 years later… and they never aged?”

RelatedReign Boss Reveals [Spoiler]’s Tragic Finale Fate: ‘He Did Not Survive’

2 | Was Orphan Black‘s Sarah/M.K. convo a rare instance of clone eyelines not matching up? Or are we being too nitpicky? (They did flawlessly exchange clothes.)

3 | It was only for a fictional Veep episode, »

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The Laura Dern-aissance: From Blacklisted After ‘Ellen’ to 2017 Scene-Stealer of ‘Big Little Lies’ and ‘Twin Peaks’

23 June 2017 8:25 AM, PDT | Entertainment Tonight | See recent Entertainment Tonight news »

A formidable actress, Laura Dern has been working in Hollywood since age 5. At 13 years old, the daughter of icons Diane Ladd and Bruce Dern became the youngest Miss Golden Globe and soon thereafter earned critical acclaim with her breakout role in Blue Velvet. The 1986 film also marked the first time Dern and director David Lynch would work together throughout her career, a pairing that continues with Twin Peaks’ celebrated return on Showtime.

Known for her highly emotive face, »

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David Lynch films: We rank all 10 movies from ‘Eraserhead’ to ‘Blue Velvet’ to ‘Twin Peaks’ to ‘Mulholland Drive’

22 June 2017 2:00 PM, PDT | Gold Derby | See recent Gold Derby news »

Love or loathe David Lynch, you have to admit that the former indie filmmaker has had one of the most unusual routes to fame in the history of Hollywood. Once king of the “midnight movies” in the 1970s, Lynch from plucked from that world by the Mel Brooks production company to helm the adaptation of […] »

- Chris Beachum

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Wunmi Mosaku Joins E4, Netflix Drama ‘The End of the F***ing World’ (Exclusive)

22 June 2017 6:15 AM, PDT | Variety - TV News | See recent Variety - TV News news »

Wunmi Mosaku has signed on to play a hardened murder squad detective in “The End of the F***ing World,” the upcoming Netflix and E4 comedy, drama based on the Charles Forsman graphic novels.

Mosaku won a BAFTA for her performance in last year’s BBC drama “Damilola, Our Loved Boy,” and was recently in Sky’s Idris Elba starrer “Guerrilla.” The Nigerian born British actor’s other TV credits include “Black Mirror,” and in movies, she was in “Fantastic Beasts and Where to Find Them,” and “Batman v Superman: Dawn of Justice.”

In “The End of the F***ing World, »

- Stewart Clarke

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Rushes. Robert Pattinson Covers, Apichatpong x Ryuichi Sakamoto, "Girls Gone Wild 1863"

22 June 2017 5:01 AM, PDT | MUBI | See recent MUBI news »

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSBlind DetectiveThe San Francisco Museum of Modern Art will hosting what we believe—and correct us if we'r wrong—is the first significant retrospective in the United States of the great Hong Kong genre director Johnnie To.Recommended VIEWINGFor one more day only Gabe Klinger's Double Play: James Benning and Richard Linklater, a 2013 documentary about two directors on different ends of American independent cinema, will be available to watch for free on Vimeo.A lovely collaboration between Thai auteur Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives) and Japanese composer (and sometimes actor) Ryuichi Sakamoto on the video for a track on his new album, async. Related: the director and composer are holding a short film competition stemming from the album. Critics Christopher Small and James Corning have lately been contributing excellent video essays to the Notebook on such directors as William Friedkin, John Carpenter, and Ernst Lubitsch. For Fandor, they've made another excellent directorial dive, in this case into the contradictory cinema of Hollywood comedy director Leo McCarey.Kirsten Dunst and Elle Fanning shoot "Girls Gone Wild 1863" behind the scenes of Sofia Coppola's The Beguiled. Warning: risqué ankle footage!Recommended Reading

The new issues of Cahiers du cinéma (out now) and Cinema Scope (coming soon) both focus on the just-completely Cannes Film Festival and have Robert Pattinson in the Safdie brothers' Good Time on the cover. Cahiers editor Stéphane Delorme has written a scathing, and to our eyes accurate, assessment of the festival, which we're reading in (please excuse us) adapted Google translation:The program of the Official is truly a program, in the programmatic sense: it has encouraged a certain type of hateful, hollow and pretentious cinema which is becoming sadly the cinema of our time.... In this context, two small wonders emerged: Good Time by the Safdies and The Day After by Hong Sang-soo... Dumont, Garrel, Claire Denis, everyone would have deserved the Palme. Authors in an insolent form that are renewed (musical comedy, sex, comedy) and who still know what it means to stage, edit, plan.This week the great American actress Gina Rowlands celebrated her 85th birthday, and Sheila O'Malley has written an excellent article on her and some of her key performances for RogerEbert.com:Rowlands' work has a way of creating anxiety in viewers. The boundary line between character and actress is obliterated; or, it was never there in the first place. Her work is so unlike what we see from most other actresses (even very good ones) that it's unnerving to watch.Alfred Hitchcock on the set of RopeAmerican Cinematographer has republished an essential 1967 interview with "The Cameraman's Director," Alfred Hitchcock:Q: Do you feel that lighting is perhaps the most important single element in the creation of cinematic mood?

A: Motion picture mood is often thought of as almost exclusively a matter of lighting, dark lighting. It isn’t. Mood is apprehension. That’s what you’ve got in that crop-duster scene. In other words, as I said years and years ago, I prefer “murder by the babbling brook.” you’ve got some of that in The Trouble With Harry. Where did I lay the dead body? Among the most beautiful colors I could find. Autumn in Vermont. Went up there and waited for the leaves to turn. We did it in counterpoint. I wanted to take a nasty taste away by making the setting beautiful. I have sometimes been accused of building a film around an effect, but in my sort of film you often have to do that if you want to get something other than the cliche.We think it's safe to say that Twin Peaks: The Return, despite being 7 episodes and nearly as many hours in, remains a mystery. We're hosting on-going and in-depth recaps of the episodes as they premiere, and at Filmmaker magazine Michael Sicinski has proposed five ideas about David Lynch and Mark Frost's new...thing:This transfer of violent energy is connected to the Black Lodge [...] but more significantly it is related to the program before us. Lynch is warning us that Twin Peaks is not background TV, and that in certain respects it is dangerous stuff. Sorry, young lovers. You need to watch that glass box carefully, because you’re strapping in for the long haul.EXTRASSome jaw-dropping analysis by Jean-Luc Godard on the relationship between film and television, courtesy of critic Max Nelson.From the Filmadrid festival, a meeting of two great figures in the film world: scholar Laura Mulvey and filmmaker Jonas Mekas.Confirming the sense of humor of Robert Bresson (he who put Chaplin's The Gold Rush and City Lights as his favorite films) is this photo of the perhaps the greatest of all filmmakers riding the donkey that appeared in his masterpiece Au hazard Balthazar. »

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‘Twin Peaks’: Diane’s Style Continues the Problematic Orientalism From the Original Series

21 June 2017 12:28 PM, PDT | Indiewire Television | See recent Indiewire Television news »

Twin Peaks” finally introduced fans to Diane, the oft-named but never seen secretary whom FBI Agent Cooper addressed his recordings to in the original 1990s series: David Lynch saved the plum role for one of his favorite actresses, Laura Dern, and her performance has been nothing short of thrilling and moving. Apart from the performance though, the character’s striking style is Orientalist, using Eastern images and themes to evoke a sense of exoticism.

Not much was known about Diane to begin with, since Cooper (Kyle MacLachlan) only ever left recordings for her. It was a one-way exchange that left viewers in the dark. In “The Autobiography of FBI Special Agent Dale Cooper: My Life, My Tapes” written by series co-creator Mark Frost, Cooper offers the only real description of Diane:

“I have been assigned a secretary. Her name is Diane. Believe her experience will be a great help. She seems an interesting cross between a saint and a cabaret singer.”

Read More: ‘Twin Peaks’ and David Lynch’s Love of the Color Red

That summary of the off-screen, off-page character only added more to her air of mystery. Therefore, when we finally meet Dern as Diane, the impact is pronounced, with her striking and unusual appearance: The sleek, platinum blonde bob, the multicolored fingernails that coordinate with her ensemble, and those clothes. The glimpse of each of the three outfits that Diane has worn thus far are showstoppers. They also have a strong Eastern influence in their design.

Diane’s initial look can only be seen from the bust upwards, but its heavy and ornate gold embroidery is Eastern-inflected, and her haircut super-straight styling with heavy bangs is reminiscent of how Asians have been depicted in the past, such as with actress Anna May Wong. While this first glimpse at Diane in Episode 6 isn’t enough to tell her overall aesthetic, Episode 7 certainly gives a clearer idea of her taste.

Read More: ’Twin Peaks’ to ‘Wings’: The 9 Shows That Defined 1990

When Agents Rosenfield and Cole (Miguel Ferrer, David Lynch) visit Diane’s home, she enters the room in a red, silky, kimono-style robe. At that point, the Asian influences cannot be ignored, especially once you add in her home’s decor. A glance around Diane’s house confirms a mix of mid-century modern and Asian pieces ranging from multi-panel screens/room dividers, vases, decorative cranes and black lacquer objects accented with mother of pearl. Even her third outfit, a red and black leather number shows samurai inspirations that gives the illusion of criss-cross styling and a gathered waist.

Diane’s tastes and styling aren’t the most racist or even overt example of Orientalism on the show, but the series does assign its characters quirks that are often the marks of marginalized people. For example, many characters have some sort of physical disability like an eye patch or hearing loss. Making that the most identifiable mark of their characters creates a vicious cycle of reinforcing the perception of their marginalized status: Nadine Hurley (Wendy Robie) isn’t described as the woman whose husband is in love with another woman, but as the kook with the eyepatch. Meanwhile, in the current season, the only Asian character is Naido (Nae Yuuki), the woman without eyes who doesn’t speak in the Purple Room.

Read More: ‘Twin Peaks’ Review: Part 7 Leaves More Clues Than We Can Count as David Lynch Digs Deep Into the Past

Diane’s bold style is used to emphasize her strong personality (“Fuck you, Tammy”) but also her mysterious, exotic qualities that Cooper had tried to encapsulate in his description. Therefore, the Asian trappings are used as costuming and Otherizing to show how interesting and unusual she is. While this practice of using Eastern clothes as costumes was far more prevalent in the past, it still shows up in properties such as “Star Wars” (Princess Amidala’s costumes are very ceremonial Asian, down to the makeup) or critical favorite “Pushing Daisies.”

The Orientalism on “Twin Peaks” was far more pronounced when the show first aired in the 1990s. Although Agent Cooper was a white man teaching Eastern philosophy to solve crimes and Josie Packard (Joan Chen) fulfilled the stereotype of the Asian seductress, the worst affront came in Season 2. Josie’s sister-in-law Catherine Martell for some reason appeared in yellowface for several episodes as a businessman named Mr. Tojamura who sported a samurai hairstyle, spoke in a stereotypical accent and even invoked the bombing of Nagasaki in a conversation. Take a look at that trainwreck below:

Twin Peaks” has come a long way when it comes to its depiction of Eastern cultures as merely costume or lesser-than. Sadly, it seems to have doubled-down on its brutality towards and objectification of women. But more on that later.

Twin Peaks” airs Sundays at 9 p.m. on Showtime.

Stay on top of the latest TV news! Sign up for our TV email newsletter here.

Related storiesBen Stiller Explains the Importance of Celebrating Human Stories that 'Don't Center on Aliens or Robots' -- Nantucket Film Festival'Twin Peaks' Hints at Both Diane's Traumatic Past and Audrey Horne's Fate'Twin Peaks' Review: Part 7 Leaves More Clues Than We Can Count as David Lynch Digs Deep Into the Past »

- Hanh Nguyen

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‘Twin Peaks’: Diane’s Style Continues the Problematic Orientalism From the Original Series

21 June 2017 12:28 PM, PDT | Indiewire | See recent Indiewire news »

Twin Peaks” finally introduced fans to Diane, the oft-named but never seen secretary whom FBI Agent Cooper addressed his recordings to in the original 1990s series: David Lynch saved the plum role for one of his favorite actresses, Laura Dern, and her performance has been nothing short of thrilling and moving. Apart from the performance though, the character’s striking style is Orientalist, using Eastern images and themes to evoke a sense of exoticism.

Not much was known about Diane to begin with, since Cooper (Kyle MacLachlan) only ever left recordings for her. It was a one-way exchange that left viewers in the dark. In “The Autobiography of FBI Special Agent Dale Cooper: My Life, My Tapes” written by series co-creator Mark Frost, Cooper offers the only real description of Diane:

“I have been assigned a secretary. Her name is Diane. Believe her experience will be a great help. She seems an interesting cross between a saint and a cabaret singer.”

Read More: ‘Twin Peaks’ and David Lynch’s Love of the Color Red

That summary of the off-screen, off-page character only added more to her air of mystery. Therefore, when we finally meet Dern as Diane, the impact is pronounced, with her striking and unusual appearance: The sleek, platinum blonde bob, the multicolored fingernails that coordinate with her ensemble, and those clothes. The glimpse of each of the three outfits that Diane has worn thus far are showstoppers. They also have a strong Eastern influence in their design.

Diane’s initial look can only be seen from the bust upwards, but its heavy and ornate gold embroidery is Eastern-inflected, and her haircut super-straight styling with heavy bangs is reminiscent of how Asians have been depicted in the past, such as with actress Anna May Wong. While this first glimpse at Diane in Episode 6 isn’t enough to tell her overall aesthetic, Episode 7 certainly gives a clearer idea of her taste.

Read More: ’Twin Peaks’ to ‘Wings’: The 9 Shows That Defined 1990

When Agents Rosenfield and Cole (Miguel Ferrer, David Lynch) visit Diane’s home, she enters the room in a red, silky, kimono-style robe. At that point, the Asian influences cannot be ignored, especially once you add in her home’s decor. A glance around Diane’s house confirms a mix of mid-century modern and Asian pieces ranging from multi-panel screens/room dividers, vases, decorative cranes and black lacquer objects accented with mother of pearl. Even her third outfit, a red and black leather number shows samurai inspirations that gives the illusion of criss-cross styling and a gathered waist.

Diane’s tastes and styling aren’t the most racist or even overt example of Orientalism on the show, but the series does assign its characters quirks that are often the marks of marginalized people. For example, many characters have some sort of physical disability like an eye patch or hearing loss. Making that the most identifiable mark of their characters creates a vicious cycle of reinforcing the perception of their marginalized status: Nadine Hurley (Wendy Robie) isn’t described as the woman whose husband is in love with another woman, but as the kook with the eyepatch. Meanwhile, in the current season, the only Asian character is Naido (Nae Yuuki), the woman without eyes who doesn’t speak in the Purple Room.

Read More: ‘Twin Peaks’ Review: Part 7 Leaves More Clues Than We Can Count as David Lynch Digs Deep Into the Past

Diane’s bold style is used to emphasize her strong personality (“Fuck you, Tammy”) but also her mysterious, exotic qualities that Cooper had tried to encapsulate in his description. Therefore, the Asian trappings are used as costuming and Otherizing to show how interesting and unusual she is. While this practice of using Eastern clothes as costumes was far more prevalent in the past, it still shows up in properties such as “Star Wars” (Princess Amidala’s costumes are very ceremonial Asian, down to the makeup) or critical favorite “Pushing Daisies.”

The Orientalism on “Twin Peaks” was far more pronounced when the show first aired in the 1990s. Although Agent Cooper was a white man teaching Eastern philosophy to solve crimes and Josie Packard (Joan Chen) fulfilled the stereotype of the Asian seductress, the worst affront came in Season 2. Josie’s sister-in-law Catherine Martell for some reason appeared in yellowface for several episodes as a businessman named Mr. Tojamura who sported a samurai hairstyle, spoke in a stereotypical accent and even invoked the bombing of Nagasaki in a conversation. Take a look at that trainwreck below:

Twin Peaks” has come a long way when it comes to its depiction of Eastern cultures as merely costume or lesser-than. Sadly, it seems to have doubled-down on its brutality towards and objectification of women. But more on that later.

Twin Peaks” airs Sundays at 9 p.m. on Showtime.

Stay on top of the latest TV news! Sign up for our TV email newsletter here.

Related storiesWhy Ben Stiller Put His Comedy Career On Hold After 'Zoolander 2''Twin Peaks' Hints at Both Diane's Traumatic Past and Audrey Horne's Fate'Twin Peaks' Review: Part 7 Leaves More Clues Than We Can Count as David Lynch Digs Deep Into the Past »

- Hanh Nguyen

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Why the new Twin Peaks is way better than the original

21 June 2017 4:29 AM, PDT | The Guardian - TV News | See recent The Guardian - TV News news »

No longer beholden to the 90s TV networks, David Lynch is free to give us pure unadulterated weirdness – and it’s a brilliantly infuriating joy

An admission: the first series of Twin Peaks was slightly lost on me. I was 10 when it first aired; by the time I got around to watching it properly, the shock had been weakened.

I was missing out on its proper historical context. I wasn’t watching in the age it was made, when just a handful of channels churned out endless conventional dramas to a guaranteed audience of millions. But, more importantly, its influence had been too well absorbed into the mainstream. All the new ground David Lynch broke in 1990 had been aped and refined endlessly over the years, so it didn’t feel like I was witnessing anything particularly new.

Related: Twin Peaks recap: episode seven – welcome back, Agent Cooper!

Continue reading »

- Stuart Heritage

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More Cannes Winners: Diane Kruger to Become the New Isabelle Huppert + Best Director Coppola Oscar Chances?

20 June 2017 8:05 PM, PDT | Alt Film Guide | See recent Alt Film Guide news »

'In the Fade' with Diane Kruger: Fatih Akin's German-language Avenging Woman drama may give its star the chance to become next awards season Isabelle Huppert. Diane Kruger: 2017–2018 awards season's Isabelle Huppert? The 2003 Cannes Film Festival's Female Revelation Chopard Trophy winner, Diane Kruger was Cannes' 2017 Best Actress winner for Fatih Akin's In the Fade / Aus dem Nichts. If Akin's German drama finds a U.S. distributor before the end of the year, Kruger could theoretically become the Isabelle Huppert of the 2017–2018 awards season – that is, in case the former does become a U.S. critics favorite while we stretch things a bit regarding the Kruger-Huppert commonalities. Just a bit, as both are European-born Best Actress Cannes winners who have been around for a while (in Huppert's case, for quite a while). Perhaps most importantly, like Huppert in Paul Verhoeven's Elle, Kruger plays a woman out for revenge in In the Fade. Diane Kruger-Isabelle Huppert 'differences' There is, however, one key difference between the two characters: in Elle, Huppert wants to avenge her own rape; in In the Fade, Kruger wants to avenge the death of her Turkish husband (Numan Acar) and their son (Rafael Santana) at the hands of white supremacist terrorists. Another key difference, this time about the Kruger-Huppert Cannes Film Festival connection: although Isabelle Huppert became a U.S. critics favorite – and later a Best Actress Oscar nominee – for her performance in Elle, her (unanimous) Best Actress Cannes win was for another movie, Michael Haneke's The Piano Teacher / La pianiste back in 2001. At that time, Huppert also became a U.S. critics favorite (winning Best Actress honors in San Diego and San Francisco; a runner-up in Los Angeles and New York), but, perhaps because of the psychological drama's sexually charged nature, she failed to receive a matching Oscar nod. Last year's Cannes Best Actress, by the way, was Jaclyn Jose for Brillante Mendoza's Philippine drama Ma' Rosa. Huppert had been in contention as well, as Elle was in the running for the Palme d'Or. Diane Kruger Best Actress Oscar nomination chances? A Best Actress nomination for Diane Kruger at the German Academy Awards (a.k.a. Lolas) – for her first German-language starring role – is all but guaranteed. Curiously, that would be her first. As for a Best Actress Oscar nod, that's less certain. For starters, unlike the mostly well-reviewed Elle, In the Fade has sharply divided critics. The Hollywood Reporter, for one, summarized Akin's film as a “thriller made riveting by an emotional performance from Diane Kruger,” while The Guardian's Peter Bradshaw called it a “mediocre revenge drama” with “a not particularly good” star turn. Besides, since the year 2000 just one “individual” Best Actress Cannes winner has gone on to receive an Oscar nomination for the same performance: Rooney Mara*, who, though one of the two leads in Todd Haynes' Carol (2011), was shortlisted in the Oscars' Best Supporting Actress category so as not to compete with her co-star and eventual Best Actress nominee Cate Blanchett. Then there's the special case of Penélope Cruz; the 2006 Best Actress Oscar nominee – for Pedro Almodóvar's Volver – was a Cannes winner as part of that family comedy-drama ensemble†. And finally, despite their Cannes Best Actress win for performances in (at least partly) English-language films, no less than seven other actresses have failed to be shortlisted for the Academy Awards this century. Björk, Dancer in the Dark (2000). Maggie Cheung, Clean (2004). Hanna Laslo, Free Zone (2005). Charlotte Gainsbourg, Antichrist (2009). Juliette Binoche, Certified Copy (2010). Kirsten Dunst, Melancholia (2011). Julianne Moore, Maps to the Stars (2014). Coincidentally, that same year Moore starred in Still Alice, which eventually earned her the Best Actress Oscar. Warner Bros. will be distributing In the Fade in Germany later this year. Regarding the Oscars, whether late in 2017 or late in 2018, seems like it would be helpful if Diane Kruger got a hold of Isabelle Huppert's – and/or Marion Cotillard's and Jean Dujardin's – U.S.-based awards season publicists. * Rooney Mara shared the 2011 Cannes Film Festival Best Actress Award with Emmanuelle Bercot for My King / Mon roi. † Also in the Cannes-winning Volver ensemble: Carmen Maura, Lola Dueñas, Blanca Portillo, Chus Lampreave, and Yohana Cobo. 'The Beguiled' trailer: Colin Farrell cast in the old Clint Eastwood role in Sofia Coppola's readaptation of Civil War-set, lust & circumstance drama. Sofia Coppola ends Cannes female drought About 13 years ago, Sofia Coppola became the first American woman to be shortlisted for the Best Director Academy Award – for the Tokyo-set drama Lost in Translation, starring Bill Murray and Scarlett Johansson. Coppola eventually lost in that category to Peter Jackson for the blockbuster The Lord of the Rings: The Return of the King, but she did take home that year's Best Original Screenplay Oscar statuette. There haven't been any other Oscar nominations since, but her father-daughter drama Somewhere, toplining Stephen Dorff and Elle Fanning, was the controversial Golden Lion winner at the 2010 Venice Film Festival. This year, Coppola has become only the second woman to win the Cannes Film Festival's Best Director Award – for The Beguiled, an American Civil War-set drama based on Thomas P. Cullinan's 1966 novel of the same name (originally published as A Painted Devil). With shades of Rumer Godden's Black Narcissus, The Beguiled follows a wounded Union soldier as he finds refuge at a girls' boarding school in Virginia. Sexual tension and assorted forms of pathological behavior ensue. Tenuous Cannes-Oscar Best Director connection From 2000 to 2016, 20 filmmakers† have taken home the Cannes Film Festival's Best Director Award. Of these, only four have gone on to receive matching Best Director Oscar nominations – but no wins: David Lynch, Mulholland Dr. (2001). Alejandro González Iñárritu, Babel (2006). Julian Schnabel, The Diving Bell and the Butterfly (2007). Bennett Miller, Foxcatcher (2014). Four other Cannes Best Director winners were bypassed by the Academy even though their movies featured – at least a sizable chunk of – English-language dialogue: Joel Coen, The Man Who Wasn't There§ (2001). Paul Thomas Anderson, Punch-Drunk Love (2002). Gus Van Sant, Elephant (2004). Nicolas Winding Refn, Drive (2011). In other words, a Best Director Cannes Film Festival win is no guarantee of a Best Director Academy Award nomination. Ultimately, Sofia Coppola's chances of an Oscar nod in the Best Director category depend on how well The Beguiled is received among Los Angeles and New York film circles, and how commercially successful – for an “arthouse movie” – it turns out to be. † During that period, there were three Cannes Film Festival Best Director ties: 2001: Joel Coen for The Man Who Wasn't There§ & David Lynch for Mulholland Dr. 2002: Im Kwon-taek for Painted Fire & Paul Thomas Anderson for Punch-Drunk Love. 2016: Cristian Mungiu for Graduation & Olivier Assayas for Personal Shopper. Both films opened in the U.S. in spring 2017 and may thus be eligible for the upcoming awards season. § Ethan Coen co-directed The Man Who Wasn't There, but didn't receive credit in that capacity. 'The Beguiled' with Nicole Kidman. The Best Actress Oscar winner ('The Hours,' 2002) had two movies in the Cannes Film Festival's Official Competition; the other one was 'The Killing of the Secret Deer,' also with Colin Farrell. Moreover, Kidman was the recipient of Cannes' special 70th Anniversary Prize. 'Sly' & 'elegant' Also adapted by Sofia Coppola, The Beguiled will be distributed in the U.S. by Oscar veteran Focus Features (Brokeback Mountain, The Danish Girl). The film has generally received positive notices – e.g., “sly” and “elegant” in the words of Time magazine's Stephanie Zacharek – and could well become a strong awards season contender in various categories. The cast includes The Killing of a Sacred Deer actors Nicole Kidman and Colin Farrell, in addition to Kirsten Dunst (the star of Coppola's Marie Antoinette), Somewhere actress Elle Fanning, Oona Laurence, Addison Riecke, Angourie Rice, and Emma Howard. As an aside, Cullinan's novel also served as the basis for Don Siegel's The Beguiled (1971), a Southern Gothic effort adapted by Irene Kamp and former Hollywood Ten member Albert Maltz. In the cast of what turned out to be a major box office flop: Clint Eastwood, Geraldine Page, Elizabeth Hartman, and Jo Ann Harris. Women directors at Cannes & the Oscars For the record, Soviet filmmaker Yuliya Solntseva was the Cannes Film Festival's first Best Director winner, for The Story of the Flaming Years back in 1961. The only woman to have directed a Palme d'Or winner is Jane Campion, for The Piano (1993). Early in 1994, Campion became the second woman to be shortlisted for an Academy Award in the Best Director category. The first one was Lina Wertmüller for Seven Beauties (1976). 'A Gentle Night' & 'Montparnasse Bienvenue' Qiu Yang's short film Palme d'Or winner A Gentle Night should be automatically eligible for the 2018 Academy Awards. But competition, as usual, will be fierce. In the last decade, the only short film Palme d'Or winner to have received an Oscar nomination is Juanjo Giménez Peña's Timecode (2016), in the Best Live Action Short Film category. This article was originally published at Alt Film Guide (http://www.altfg.com/). »

- Steph Mont.

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