Derestrict Piaggio 4t

INLAND EMPIRE - pt. 3

The third macrosequenza leaves no breathing. Usually in a movie alternate sequences and very strong impact on the less important the task of lowering and raising the tension in the viewer's command. But the third sequence of INLAND EMPIRE, which lasts about an hour and forty minutes, not allowing the viewer to take breaks. It is known that the power of Lynch on the DVD editions of his films, which prevents any possibility of selecting scenes. For INLAND EMPIRE instead left that we could achieve. Probably in the movie is so high a concentration of concept, emotion and alienation that the director has the ability to isolate and catch one by one, the more difficult segments of its sequence.

I think it is quite impossible (and inappropriate) to describe and explain the third part consists of this film. It is not possible because it is extremely difficult, long, full of different elements, segments, and apparently disordered. In addition, a sequence that must be lived, to explain why it means impoverishing the experience. Let

but to unravel the events and make sense of them. At a time when Nikki enters the cabin of the soundstage and is trapped, the actress begins to live more lives that seem separate, but which rely on each other. In one of these lives - or of these stories - Nikki, maybe that is called Sue, lives in a small house without being pretentious and is married to a man very sloppy (in the second sequence, the actor who plays the husband of Nikki): the two have no money and she is expecting a baby. Betrays its her husband with several men, but his lover Billy is more frequent. One night Sue goes out and goes to Billy's house and in front of his family, confesses that she loves him. Here we discover that the wife of Billy is the same woman who, in the scene at the police station, claims to have killed someone. Billy's wife Sue took a slap. And, later, the husband of Sue rushes at her with violence: he can not have children in this way, and discovers the treachery of his wife.

will also state that the husband of Sue then decides to go with a group of circus to look after their animals. He is good at looking after the animals . Among these men there is the circus a ghost (which I think is the one who is called crampy), a strange man who talks bad and just move your hands to make people do what he wants.

We know many of these things to a regularly occurring segment: Sue, his face swollen, is in front of a man who seems be a detective and told him all his life.

Gradually, it opened a narrative line. We in Poland in the twenties. Here there is the story of betrayal: a man and a woman, both married, they decide to be lovers, but their relationship ends with a brutal murder. You seem to be the girl who, in the first sequence, watching TV and crying, as he is, once again, the husband of Nikki / Sue. For some factors we understand that this is "47", that inspired the remake of the dark sky of tomorrow: the image has a old-fashioned, the film is ruined by time and the background noise you hear is what the projector running.

add to these stories some step sequences: sequences are those in which Nikki accompanied now in a time in another dimension by a series of girls. The girls all have a lascivious behavior, from how they speak you get the impression that they know a lot about Nikki and who have lived the same experience of love. They were all with the same man - they are prostitutes. Their return also figures in the film of the twenties, where, once again, are prostitutes. These girls, including ballet and dissertations on the measures of the breast, accompanied by Nikki in his adventure.

Also this is topped off with an action that makes our protagonist: with a cigarette to burn a silk cloth and look through. Lynch immerses you into the plot in fabric of the film. Lynch goes to the bottom and confuses us, throws us away from the normal perception and understanding of things.

What all this chaos? Why so many stories, so many places, so many women?

Because what Lynch is telling the story of the overlap between reality and fiction. Between reality and cinema. It is the clash / overlap between two truths, two realities both equally valid.

The story is told, even if on different floors, it is always the same. He wanders around the same situation and it never comes out: a woman betrays her husband, she feels a prostitute and is murdered because of jealousy.

It's all in the way it deals with the plot, ie in the way we build the textus - the text, the fabric: According to how you interpret, manufactures, and tells the same story may appear very different.

addition, there is another difference that insinuates itself between the three stories the same: the size. One is the story written in the script, a film is, and is the story of characters who live by themselves (beyond the script and the film).

The same goes for Nikki: All the women featured are just the continuous duplication of the same person due to the different dimensions in which they occur. There's the actress out of the film, the character and there is no interpreter in the film. The moment a woman, who works as an actress, says a lot, collect within all things: his life, the life of the character in the story and the character's life that will come out of its interpretation. The life of an actress is always a fiction. It can confuse itself with the character. Can exchange the set with the outside of the set. It is the power of identification of film that sucks everything into another dimension. The film, most of the other arts, has the power to shake our certainties. It is a real magic tunnel that opens with its light in a dark room, it makes us forget the outside and propels us further.