Inland Empire is first of all a David Lynch film. In this film, audiences familiar with him can find the confusion between dream and reality, the vortex of the time dimension, the fetish close-up of body parts, the surreal style of the space environment, Lin’s labels such as murder and suspense; secondly, this is a movie about the film itself—of course not only because one of the main lines of the narrative is filmmaking, and interspersed with celebrity shows and absurd sitcoms—just to name a few Intention: The recurring paper piercings and eye close-ups symbolize the voyeuristic gaze of the movie audience; the dream-like plot in the movie is a metaphor for the movie world. The experience in the theater is similar to the dream world. You Surrounded by darkness, everything happens on an unconscious level, unable to distinguish reality from illusion; the heroine walks out of the TV and embraces the woman who is sitting on the edge of the bed and weeping. If you regard this scene as the audience constructing themselves through the screen image (or ideal-ego) The subject’s mirror theory practice, then Lynch is saying: embrace the movie, embrace your mirror image, the movie is the reality... You think that the suspense is gradually dripping through the rocks, but you find that it is illogical and it is attributed to Lynch’s fictional narrative. When you think that dreams and fiction can explain everything but you are told that this is a movie, then you accept the director’s fictional narrative and expect the protagonist to return to normal life, but the movie continues illogically, and finally you give up understanding and abandon your actions The logical thinking of the audience, sitting on the sofa and smiling like the protagonist, watching all the actors surround themselves with singing and dancing and celebrating the victory of the Dionysian spirit over the order of the Sun God. Embrace the movie, enter the movie, David Lynch gives you the most true truth with the negation of negation.
The climax of the movie occurred when the protagonist walked into the movie theater and saw the scene that he had just participated in before it was shown on the screen—the movie theater on the screen was almost exactly the same as the environment I was in, with scarlet seats and ambiguous lights. Lynch pulls you out of the plot all at once, but uses dreamlike scenes to imply your true situation: choosing to go to the cinema is to choose to dream.
But you must have the conditions to go to the theater to practice this viewing process before you can experience this level. Sitting in the cinema for three hours, you are forced to accept the director’s deliberately prolonged prelude and unknown obscure foreshadowing, forced to accept all highs and lows, all nightmare fragments and sweet moments-unlike at home you can stop at any time Get up and drink water to go to the toilet-as if you can't control a dream. You see the people around you moving, feel their breathing and consternation, but in a helpless nightmare, no one can change anyone. As a dream maker, you are so helpless.
Only at the end of the staff details, I saw the name of Jeremy Irons, Rosie and I laughed together, and then paid attention to the original soundtrack, oh there is Beck, Dave Brubeck, Nina Simone and Lynch himself. No wonder, the quality is guaranteed. In the dialectical game of dreaming a star, Lynch is more Hollywood than Hollywood.
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