This article takes as a starting point the idea that David Lynch's world is a world of thing-vitality, thing-actor, person-thing equivalence. That is, in Lynch's world, things act like people, and people often behave like things, with no apparent hierarchy between anthropocentrism and inert things. Although this thesis can be applied to the vast majority of Lynch's work, it is best suited for Twin Peaks: The Return (2017). Of course, when one discusses Lynch - whose work is often analyzed in terms of the director's interest in surrealism, transcendental musings, the symbolic power of dreams, and obscure inner landscapes - "understanding" is a Very dangerous word out […]
David Lynch's Twin Peaks and Speculative Realism
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