Once again Lynch insists on this point. After all, even if the film is composed of stories characterized by different levels of reality, it is still a movie. The "real" can not be so real if it is part of a film. It's a closed circle. The fiction and non fiction is all we can emerge. It's a trap. Both space and time. For this reason, every space in INLAND EMPIRE is always over again, different and distant houses are joined together by corridors that lead to impossible in a theater, in the set, in a cinema, in other houses, in attics small, indecipherable in places. The weather also means the time of the film is always present. Never connect to anything before and anything later. It can only start again (and this is what happens with the film's story, which continues to be repeated).
If the actor / character feels trapped can try to kill his own puppeteer: that is to try to make Nikki in one of the most inexplicable scenes of the film when shooting at the ghost / crampy but fails to kill him. The effect of bullets on the ghost does not result in killing of man but in a burn on the film reveals that the deformed face of Nikki. If you kill the fiction of which one belongs, you kill yourself: the finished film, the character also ends. So it is always good to try to prolong the fiction indefinitely beyond a reasonable time film and / or literature.
The Phantom is the one who has to do with animals that mesmerizes people with his hands, speaking in a non-normal and prestige, is the demiurge of fiction, is the one who keeps his animals in captivity. Animals for stage. All references to "look after the animals" are just a metaphor for what happens to the actor who dreams factory, which is manufactured by Hollywood actor and who is killed by the cinema. Nikki, at the end of history, in front of his friends, he says "I'm a whore!" And the phrase is interpreted according to different levels of meaning: Nikki / Sue feels a whore because she betrayed her husband. However, even the job of an actor can be very similar to that of a whore: from film to film actor is a prostitute, gives his body and his mind to different roles, you manage powerful pimps (like the director or producer) and you pay very well. The actor is a bitch on the high board, no doubt about it.
And what is even more evident at the end of the film, on which they run the credits . A lot of people find themselves in the living room of Nikki. But it is people ... "Normal". They are characters that have taken shape. It's those people that we talked about - very quickly - in the course of the film: there is the prostitute with the monkey, there is a woman with the wooden leg, there's Laura Harring, Rita / Camilla Mullholland Drive, there's Nikki / Sue, the girls are dancers. There's a cowboy, a lumberjack and a black girl who sings in a clear playback Sinnerman by Nina Simone. Here we have the impression that the house is used to mo 'box magic: the magic box is Hollywood, is the head director of the magic box.
The choice of actor to character becomes emblematic of a complex layering of meanings. Lynch for the actor becomes almost an emblem of the fiction, a way - a body - through which to manage the intricate world of cinematic storytelling: in fact, it turns out with great plot twist that the voices of those bunnies are just and Laura Harring Naomi Watts, the protagonists of Mullholland Drive. Not to mention the return of Justin Theroux and Laura Dern in front of the camera to Lynch.
The girl who sings and that is clearly seen that the voice is not his but that of Nina Simone is further evidence of the fact that Lynch is proposing the overlap between the character of the plans and the interpreter, between the original and copy, between reality and fiction.
Here everything can happen. Lynch plays with the fiction and play with us: we should not be surprised if some dialogue and some scenes seem completely incomprehensible. The director deliberately insert something incomprehensible, it is to disorient the viewer, to make him lose all confidence when he has gained some. She does it saying, is the cinema. And the final question, "Why tell this story? is the void of an answer that is not there, if not the "Beeeello" the woman with the wooden leg that appears in the credits. It tells a story because it tells a story. Inland empire, indoor, it means everything and means nothing. Lynch puts these two words - INLAND EMPIRE - into the mouth of an actor in a scene that leads nowhere. The hinterland is when something inexplicable happens, where stories take shape, anxieties, dreams. Where the mechanisms of the mind work differently than usual. It is the the place that remains unexplored because it is just that, a movie, a story, mind, there is a last bastion inviolable. It tells a story because it tells a story.
reasons underlying mechanisms of the mind and film Lynch has revolutionized the way of narration. His antinarrazione inevitably leads to think differently and see everything in its alienating relativity. Lynch uses the rules of gender to destroy them: the only way to access a dimension other is indeed insured.
Lynch is one of those geniuses who can actually tell the world more. What seems to live its own life and that continues to creep into our heads after turning off the TV or exiting cinema. That other world does not have written The End And even "E xit.
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