After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits town, she finds out that their support has a price. Yet her dangerous secret is never far away...
Mourning his dead child, a haunted Vietnam vet attempts to discover his past while suffering from a severe case of disassociation. To do so, he must decipher reality and life from his own dreams, delusion, and perception of death.
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
A blonde actress is preparing for her biggest role yet, but when she finds herself falling for her co-star, she realizes that her life is beginning to mimic the fictional film that they're shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy. Written by
Fact # 1: Lynch is a genius and one of the very few filmmakers who have reached the point of image-perfection (others include Terence Malick, Kim Ki-Duk, Herzog, but also Wong Kar- Wai and maybe Nic Roeg)
Fact # 2: I found Mulholland Drive completely comprehensible; in fact it is my all time favourite film (together with Kim's Bin-Jip), with Blue Velvet close on its heels and Lost Highway a bit further down the top 30. I saw MD 5 times the week it came out.
Fact # 3: I *never* walk out on a film *ever*, but watch the thing till the very last closing caption.
Fact # 4: After a considerable time of viewing Inland Empire, I glanced at my watch (bad sign in itself), saw we were 2 hours in and so had 1 more hour to go. I didn't hesitate, but got up and out of the theatre.
Tons have been written about this film, so I'll keep it short: Rabbits dates from 2002.
What do I mean by that:
1 - The fact that it's utterly incomprehensible (well, maybe not totally, but hey) does not bother me, nor the fact that it's artsy - even though I think Lynch should stop meditating.
2 - What *does* bother me is that he does not seem to be able to choose. He discovered the hand-held camera. Cool. He's created the most cut-up story ever. Cool. But (a) somehow he doesn't seem to be able to combine the two; (b) he seems to have little confidence in it himself. Some of the shots work, like the dancing scene. Some shots work with the hand- held. But sometimes he uses his old filmic language with the hand-held, and it DOES NOT WORK. It gives the impression that what you're seeing is actually the evolution that Lynch's style has undergone in the past 5 years, without him being able to take position. Emblematic to that problem is the fact that Rabbits-parts are included, which include Mulholland Dr actors, and which dates from 4 (four!) years earlier, filmed in his "moving painting" style.
In short: I had the impression that Lynch has evolved, and that this would have been a great film if he'd been honest to himself and keep only the radically new bits, instead of keeping everything in, leading to an inconsistent hodgepodge.
Maybe it's telling that in last year's DVD-issues of Lost Highway (or was it MDr?) he actually *explains* part of his storytelling technique. For a master of the non-explaining, this is an omen. Lynch should burn his old pellicule and start from scratch. Try to amaze himself with something he doesn't already understand.
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