Reasoning in this way is to have more horizons to explore, in front of you do not have a single, unique and closed on reality, but a network of solutions to slip into at will. This means continuing to live in the grip of mental trip or simply coincides with creativity. The eyes are crossed, the brain goes to mush. You have to have very firm not to be devoured by what, around us (in us) seems more imminent than ever.
So. So what remains is to transform the uncontrolled orgasm in fictional multiverse way to go. On the street by c rear.
When you have things in hand, everything and walking become more goggled p iacevolmente goggled. Turns uncontrolled in his mind with the assurance that the output, somewhere, at any time and way, we can crearcela us.
INLAND EMPIRE is a film of nearly three hours. It is impossible or broken. We must water the brain and eyes slowly for three hours, binge. But INLAND EMPIRE is a film? Or is it something else? Someone will say, incomprehensible. Forced. Too long. Useless.
Yet in front of a Lynch film is not can not stay and do not think you can always yell ò to useless, the forcing, the inability to communicate something.
We all look at film, different genres, disparate stories, but watching movies. Hobby, study, cinephiles. Any reason is good to watch a movie.
We all have a mind. The unconscious mind is controllable. Frighteningly uncontrollable.
For this, we have all the subtle fear that the mind can create something autonomous, living independently of us en utrendosi of our reflection.
aside for a moment to put the Italian side of titolino INLAND EMPIRE, "The empire of the mind." Saying "The empire of the mind" on INLAND EMPIRE is quite simplistic and does not resolve the issue. If anything, we might venture with "Empire of the cinema", but I think INLAND EMPIRE - "A woman in trouble" (the same as Lynch points out) is more than enough.
Inland: Inland. Empire: Empire. In this film you can not gloss over the names, on the puns, the translations, the texts music. Every word leads to another, each space or leads to another, although far away and (apparently) no real continuity. A door that opens to a world leading, cross it, until there is a window that opens, leading to a world, cross it and then again, there is a door ...
... and you are trapped.
And although the movie is confusing and meaningless, is behind Order a scary and crazy.
We can divide the film into three parts over the end credits (which have a key role). You can even say that it is, in nearly three hours of film, three macrosequenze. Very long and fragmented, but still logically three sequences.
First we deduce a plot (f bears Lynch would not be happy to know ch and someone tells the story of his film ...): there is an actress, Nikki Grace, who is engaged for a movie. The movie wears a curse: it seems that the actors who interpret something could happen very ugly. On the set of the film, Nikki (who is married to a jealous man Polish) meets Devon, a talent like bell'attore notes Torie (Justin Theroux, who played the director in Mullholland Drive) and, apparently, among the two become something. Something I try to keep illegal and (maybe, but it is not known with certainty) is discovered by her husband. In short, Inland Empire is about a betrayal. But there is a problem. One day on the set, our actress - who has already impressed by the person who must act and legends that revolve around you - is lost in the theater pose. Enter one of the houses in the theater and it remains trapped. From this point on, the house of the set becomes a true home and our will to live actress and a life, indeed, more lives, which revolve all rno act a betrayal, an old Polish history, the film.
If you need to track the carrier INLA nd Empire, it should be found in the superposition. All overlaps with everything. Spaces, characters, doors with windows, the ages, the jokes. The fiction overlaps with the reality and the swallows. The digests and the answer out. But it is no longer the reality that we could claim to know the beginning.
The first part consists - a prologue explaining the whole film - is already a waltz of overlap. The film begins in black and white, c ' is a corridor and two people, a man and a woman. Of them can see everything except the face, which is blurred, seems to have been erased by a rubber blow: those two can be anyone. The two characters speak in Polish and one of them is a strange exchange: strange because redundant, but that at the same time to understand the situation well. "You know what whores do?" "Fucking. I want to fuck? " "Take off your clothes." She strips and adds a little later, in what appears to embrace an out of focus: "I'm afraid."
Something tells us that everything should remain illegal. A moment later the joke "I'm afraid," the picture is done in color. In a room decorated in a way very similar to the previous one (the one in which they are man and woman) is a girl naked, covered only by a blanket, watching TV and crying. The television, however, is no signal. At times the images seem very fast (the film images that will be).
The TV tunes soon on a strange play. Lynch enters the television and shows us, with one fix, always the same, the play in which they are acting in rabbits. The set is sparse, it is a room of a faded blue, there is an ironing board, sofa and TV (the room, leather, reminiscent of Diane in the kitchen of Mullholland Drive). A bunny in a dressing gown stretches, while the other is sitting on the couch. Enter the door a male rabbit in a suit and tie, and the audience applauds as if it were on the scene, the undoubted star of the company. The three rabbits provide each other jokes and rambling the public acts accordingly. Between what he says and what a rabbit another says that there is absolutely no logical sense. And the audience burst into loud laughter as worrying for no reason. "Today he did not call anybody," says the rabbit, and the audience down to laugh. The rabbit comes out of the door through which he had entered.
A new room. Decorated in a very similar way to the hotel room where the two had met to make love and where she watched TV. In this room enter the rabbit. The room is lit, the rabbit disappears. Show two men who, in Polish, have a strange dialogue: "Would you come?" - "Yes" - "Seeking an entry. One entry, you know? " - "Yes, I understand." - "Well. It is fortunate that she understands. " And so on.
men disappear. Back in the rabbit.
Dark room. End of first part consists.
This "small" that Lynch gives us a glimpse of his film. In ten minutes the viewer's brain starts to move and already threatens to go to mush if it were then the director attacks the beginning of a "real movie". Already here, are brought to light all the issues that come into play during the three hours. First, the consequential between spaces that, logically, should not be continuous. The assembly and staging allow us to combine logical and spatial locations that would otherwise be incompatible. From the TV screen goes to the theater with the rabbits and the rabbits will go to a lounge where two men discuss the fact that they are seeking input. Lynch does not hide his game at all: the cinema can take us where he wants. To get from one place to another do not have to walk through wide spaces actually exist, but simply put them together through the mind - that is, through a process of association of ideas that is paid by the assembly. The mind, if left unbridled, can really go where it wants. As the cinema.
Rabbits are the key to prime the whole movie. The three scary clothes and humanized animals appear something other than us. Yet they are there for an audience. Literally trapped for the public, freak trapped, imprisoned. Bunnies can not do anything but act. And maybe read too bad, but they ... stage they are animals and can only do what they do, pray always, forever. And when you end up starting over. Bunnies will return with continuity throughout the film and help to make the puzzle whole (but also brilliant, in some ways) of Lynch.
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