The film is as its name, but the so-called "inland" does not refer to a hidden canyon in Los Angeles, but the darkest corner of the heart. The protagonist of the film (played by Laura Dunn) must complete his spiritual journey in the film— —I think Lynch himself is walking with him.
The film haunts (people who hate it say "indulge") a dreamlike abstract and hazy tone, a large number of unconscious passages and repeated obscure metaphors, making "Inland Empire" look more like an experimental film or a pioneer Art work. If "Blue Velvet" still has clear narrative clues and consideration of audience acceptance, then "Inland Empire" is more ignorant and indifferent; if "Muholland Road" fantasy and reality can still be clearly separated, Then "Inland Empire" completely blurred the boundaries.
The film begins with Laura Dunn’s 14-page (A4 paper, no blank lines and spaces) monologue about the history of domestic violence and revenge, and the "damn" digital technology allows Lynch to shoot large sections of unconscious scenes. Of. The film travels back and forth in at least six times. Dunn plays a Hollywood actress, the wife of a Polish immigrant, and a street prostitute alone. Although it is still unclear whether these three women have different identities or they are three different women at all, even Dunn complains about not knowing how many women he played, but Dunn still made a wonderful contribution. The show, thank goodness, otherwise this movie really won't be able to watch.
The degree of boringness of the film is directly proportional to its darkness. Spooky and erratic sounds echoed in the corridors, spooky paths and stairs, red curtains-these typical "Lynch-like" elements can be found in the film. What's missing are saturated and gorgeous colors and shocking imaginations-they are replaced by gloomy and frantic DV lenses. Obviously, "Inland Empire" failed to see a glimmer of light in the horror like "Blue Velvet", but it was also obvious that Lynch knew how to explore the limits of technology, so he didn't hesitate. To break the harmony of colors and the balance of time and space, and not let go of any opportunity to get in touch with the dark, this way may give Lynch more freedom, but at the cost of losing the visual pleasure of the film.
And how shall we interpret this film? We can say that the three big bunnies in clothes that suddenly jumped onto the stage in the middle of the film are a metaphor for the different worlds in "Alice in Wonderland", but maybe Lynch just thinks that it’s very easy for the actors to wear rabbit simulation suits. It’s fun; we can also say that the split and role change of the heroine came from Lynch’s deep-rooted belief in Hinduism "reincarnation", and when the group of prostitutes sang "THE LOCOMOTION", perhaps it was just because Lynch happened to be there the day before. I heard this song on the radio. who knows?
This is David Lynch, who refuses to explain, refuses to answer, and never tries to solve any problems. So we love him.
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