a new poem by seamouse, the famous postmodern surrealist poet in our country, a hot release:
"The Night"
Looking down on the restless I dedicated my pupils to my master
while Nikki whipped me ! Wriggling in the mosquito nets are the people who believe in demons. They are shocked to find that they can't cry. The last moment of sobbing cuts out my pupils.
Glancing at him, it's boring and nonsense, but if you're serious about it, it's a little bit more interesting. Just as the David Lynch movie gives people the feeling, most people are confused and run away quickly, but let a few people enjoy it and enjoy the fun of analyzing dreams. "Inland Empire" highly concentrates this ambivalence of willingness to know. With chaotic editing, disordered and even illogical stories, and a complete abandonment of rational motives, it is difficult and obscure to penetrate into the human fantasy favored by Lynch. In the dream, it left behind the spirit of "Mulholland Drive" and "The Nightmare", then dropped their shells, and then swept away the metaphorical objects that Lynch had treasured for 60 years, returning to the final "Eraser Head". in the unexplained psychological realm. Some viewers thought this was the director's obscenity, and they angrily denounced Lynch for deviating from the basic principle of the film for people to enjoy, "Isn't it just extending a 5-minute experimental video to an unbearable 3 hours?" Those who favored believed that "Inland Empire" was the epitome of David Lynch's psychoanalytic video art, and some people refuted the haters with a rather appropriate metaphor, "Someone pointed to an open space and asked what was there, we would say anything. No, but those who engage in biology can see microorganisms, and those who engage in physics can discover atoms and molecules”, and thus emphasizes the joy of analytical thinking for those who favor it. Of course, viewers also admit that trying to analyze the logic of this film is definitely a self-mutilating act of killing brain cells. Freud, Levi Strauss and many other psychological theories have moved in, combined with every seemingly random picture, and sorted out a convincing "viewing guide", such comment authors are admirable , but they are also worried that their analysis is just an opinion, which may lead to misunderstanding by others, and fans who know Lynch know that he never refuses to explain any meaning of his films.
Didn't we often quarrel with other kids about plot issues for great feature films, especially suspense films, when we were kids? When we grow up, it seems that we are more inclined to talk about the spiritual temperament of the film in a false and open space to the extent that we know only a little about the plot. "Inland Empire" is a good opportunity for us to return to the sincere foundation of content discussion with peace of mind and humility, and push open the invisible door that gradually turns from chaos to light in our speculation. In the content, you can taste Lynch's superb artistic skills in sculpting the psychological world. Aren't all the rules sorted out in practice? Logic also emerges from chaos with the help of thinking.
The plot introduction of "Inland Empire" is generally: Nikki Grace and Devon Berk star in Kingsley Stewar's new film titled "Heaven on a Melancholy Tomorrow". Nikki got so involved in the role that she started to confuse real life with her character (Susan Blue) and the hero Devon (Billy Side in the film). In real life, her character (Susan Blue) becomes more and more real, even more real than herself...
And this is just a little bit of logic in the first half of the film, less than 1/3 of the star's dream-chasing story, You can think of the Hollywood dreamers of Mulholland Drive and those indistinguishable people in many films such as "Masquerade". Even in this logic, Lynch sometimes cuts in some faces that are not related to the event. The holes and spaces, coupled with the depressing sound experiments and the DV images with desaturated colors, make people feel that this is not a rational entrance to the story in the depression. And the part behind the film is full of the director's recklessness and laissez-faire. The viewer can't tell where the flashback is and where is the main storyline, and these stories are also indistinguishable. Given her repressed life, what was the beginning of the film's mosaic face that predates Nikki's story? Another off-screen play? The many characters in the flashback are hard to remember, but sure to have seen in some previous section. Surrounded by Matisse's red space-like rabbit-headed family, ordinary life beside Nikki, labyrinth-like dark theaters and rooms, evil-faced old neighbors, crying Polish girls, claustrophobic rooms marked with the unknown number 47 of Gypsy... So many symbols poured into the 3 hours of depressing time, making you struggle to sort out each memory point, and let you sort out all these wonders after the fact, of course, if you have that mood. In the end, the result of sorting out is the process of David Lynch's consistent search and confrontation with demons, which is also the most reasonable and logical analysis orientation, although it is impossible for us to learn even a little bit of information from the director's Chrysostom. As for those convincing analysis processes, those who are interested can go to the "viewing guides" compiled by those who are interested, they are not bad.
Weirdness is at the heart of David Lynch's work, and he, like most cult filmmakers, dislikes routine. "In Hollywood, they tend to make traditional films of popular stories. The whole story has to be understood, but the most fascinating part of the film is precisely the parts that are abstract, feel and need to be grasped directly." This is also Lynch's vision of images, so he got the strange and abstract carrier of "dream". Through many psychoanalytic films, he confirmed that he has inherited the only privilege of "Dream-making" in American films, and that he is the real "Dream Factory" owner. If Yandrovsky has the same circus experience as the master Fellini, he has achieved the surreal style in the future; then Lynch, who was born on the same day as Fellini, has been crowned the master's dream mantle. David Lynch's absurd "Dream Shadow" makes people believe that he is also an out-and-out lunatic in reality, but Patricia Arquette, the heroine of "Monster Night", firmly believes that Lynch is normal To be able to be an American moral model, in reality, he is completely normal, but he likes some observations and gizmos more than others. It is these observations that others will not care about, which has caused him to continuously bring the audience nightmares of images for 40 years. After witnessing a feverish niece jumping on the bed and reciting the alphabet, there is a bloody story "The Alphabet" by a girl who seems to be full of magic; visiting an old painter and drinking coffee with a strange taste, it turns out that when the old painter was cleaning the coffee machine, he forgot to get the soap out of the filter, so years later, in Twin Peaks: Walking With Fire, that bar of soap turned into a fish; seeing the radiator gave rise to the radiator stage lady in Eraserhead; When I saw the ants in the kitchen, there was a strange installation photography and the follow-up "Monster Night Desolation". It is said that this "Inland Empire" began with starring Laura Dern's 14-page monologue on the history of domestic violence and revenge, and then Lynch derived it from a complex story of endless circles. It seems that at the age of sixty, David Lynch is more energetic to observe every detail of life.
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