![]() ![]() When people say "Inland Empire" is Lynch's " Sunset Boulevard," Lynch's " Persona," or Lynch's " 8 1/2," they're quite right, but it also explicitly invokes connections to Stanley Kubrick's " The Shining," Jean-Luc Godard's " Pierrot le Fou," Bunuel and Dali's " Un Chien Andalou," Maya Deren's LA-experimental "Meshes of the Afternoon" (a Lynch favorite), and others. "Inland Empire" presents itself as a Hollywood movie (and a movie about Hollywood) in the guise of an avant-garde mega-meta art movie. This is a digital dimension where, to paraphrase Jean-Luc Godard, there's no difference between ketchup and paint and light and blood: On the screen, it's red. "Inland Empire" unfolds in a digital world (a replication of consciousness itself - hence the title), where events really do transpire in multiple locations at the same time (or multiple times at the same place), observers are anywhere and everywhere at once, and realities are endlessly duplicable, repeatable and tweakable. Not because Lynch shot it with the relatively small Sony PD-150 digicam and fell in love with the smeary, malleable and unstable texture of digital video (where the brightest Los Angeles sunlight can be as void and terrifying as the darkest shadow), or because the first pieces of the movie were digital shorts he made for his Web site before they grew and crystallized into a narrative idea. In this sense, you might say, "Inland Empire" is a digital film, through and through. ![]()
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