With faint nuances of
Inland Empire (2006), and also integrated into
Absurda (2007), the tall, lithe figure of
David Lynch's ballerina materialises in the shadowy realm of lost dreams. And in the bosom of uncanny darkness, and the impregnable mists of oblivion, the graceful dancer mesmerises with her delicate, almost ritualistic gestures, as her beautiful dress, adorned with the colour of life, vermilion, becomes a beacon of hope, evoking symbolisms of blood and eternity.
—Nick Riganas