Lynch's cinema is like a decoding of reality on screen, but only from a semantic point of view. To do this, he completely deconstructs the common logic of the world, creating his own universe. Deconstruction of time, space, events, carried out in a systematic, natural, almost obvious way (in his world, this is normal). Each of us sees reality from a different perspective, each of us assigns incredibly different meanings to things, to events, meanings whose true nature is often distorted by our burdens; in this sense, Lynch shows us how complex and varied cognitive perception is, erasing that burden and digging even closer to the unconscious; how relative and contradictory truth can be, and he reveals the consequences of this, the conflicts and connections (both internal and relational) that will inevitably arise from this “weave of possibilities.” On one hand, there is the clear rationality of the operation, on the other there is clearly his desire to have fun, even provocatively, with the grammar of narrative, destroying it and reassembling it at his leisure without giving it too much thought. The significance of such an operation is as strong and decisive as it is profound and difficult to grasp and make one's own. A classic example of genius.
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