Tabba In D-Shirt

Easy, I agree with your megalomania (but in reality, megalomania often goes hand in hand with genius), but if with the statement "of manner" you want to suggest that the film in question doesn't add anything new compared to the past, I disagree. The style of the film is 100% Lynchian, sure, but it goes beyond his last two films. A film of manner would have been another film on the theme of the double, first part dream, second part reality. Here, the matter is even more tangled. If, on the other hand, you are exclusively talking about the directorial style, well, that's him for sure; it's Lynch at his finest. But even in a true story, it was him, and you could see it from the maniacal care of the landscapes. Take Tarkovsky as an example; Tarkovsky's style was always the same, from the cinematography to the reflective way he proceeded with his cinematic and philosophical meditations. Would you ever say that Stalker is a film of manner just because it was made after Andrei Rublev, Solaris, and The Mirror? The same goes for Lynch, in my opinion. However, if by manner you mean something else, then I’m waiting to understand better.

this film is an erotic film, one of the greatest erotic films in history, the continuous references to sexual organs are not there by chance, and all the allusions to sexual symbolism, Kubrick never shot a scene randomly, it's pointless to make rankings with directors like these, this film belongs in the Olympus along with his others, giving this film a 4 means offending the memory of Peter Sellers, a giant.

The pinnacle of Antonioni is in "Professione Reporter," when Nicholson asks Schneider, "What the hell are you doing here with me?"—a transcendent moment in the master's filmography, one of the most abyssal and nihilistic moments in the history of cinema. And indeed, that was the last great film of the master (certainly the most pessimistic, even more than the final sequence of "Zabriskie Point"). Among the quadrilogy from '58 to '64, my favorite is "Deserto Rosso"; "L'Avventura" remains a film worth watching, but it stands between two giants like "Il Grido" and "L'Eclisse." Anyway, I believe Antonioni from '58 to '75 is untouchable.

For Lynch this and other anonymous dear, for Lynch and for a few other great filmmakers I could even turn into deivgiggiongilmur.

the analog editing! the stroller! the mother's eye!

Welles would have been even greater if he hadn't had disputes with the industry; his second film was ruined by shameful cuts to the ending.

I have seen the film already 4 times (including once in its original language), the first time I didn't understand much of the plot, my interpretation of the story came after the third viewing, and it's in the link posted up there. After all, Easy Cure reminds me of myself the day after watching Lost Highway and Eraserhead; your judgment is entirely valid, it’s only natural, especially since the disorientation can truly be enormous. But Lynch gives the viewer free rein for their personal exploration and their own truth. The blend of dreams and film is also interesting (which indeed are the factory of dreams); the visual material that comes from movies becomes material worked on by the unconscious for its purposes, and Inland Empire itself that we see on the big screen will delve deep into our unconscious. After the first, second, or third viewing of Lost Highway, I would never have thought that the final scene where Fred is convulsing in the driver's seat of his car had a logical explanation (i.e., the moment of the electric chair's voltage surge while he dreams after a psychogenic flight induced by the medication administered in prison). I came to this realization later (and I didn’t have the internet yet, so I figured it out on my own), and each piece of the film fell back into place. I would love to reconnect with people like Easy Cure in 3 years and ask them what they think of Inland Empire :-). Lynch is the filmmaker of the pathological psyche and psychoanalytic exploration, and the depiction of madness shows what figuratively appears in those living through a pathological passion.

This film is the irrefutable seal of Lynch's career. I agree with you when you say that Lost Highway and Mulholland Drive complete a true trilogy, with Inland Empire being an additional expansion of that project. In Lost Highway and Mulholland Drive, Lynch played with doubles; here, we are now dealing with a plurality of situations and imaginaries, a multitude of nightmares/dreams that ultimately determine a single reality (which I have already explained from my point of view in the link mentioned in the comments of the other review). It’s obvious that for many, this film is messier than the previous two. From the theme of the double in Lost Highway and Mulholland Drive, Lynch arrives at the theme of the multiple. In reality, it’s a film that unsettles, is convoluted, but once you find the thread, it becomes disarming. Inland Empire, on the other hand, is a desecrating puzzle like no other, yet ironic, explosive, wicked, and sensual. The darkness this time does not swallow anyone; life itself unfolds in the shadows. The digital, purposely and perpetually ruined, grainy, of poor quality, serves to capture both dream and life. One thing I am certain of: Lynch's cinema is definitely breaking away from the constraints of the screenplay. This review is absolutely more exhaustive and appropriate than the previous one (if it was indeed a review ???).

It will be tough to review Inland Empire by Lynch; good luck, I think you'll need it. Obviously, for me, it’s an absolute masterpiece, something that will redefine cinema or something like that. Best of luck!

the peak of that period for me are von Sternberg's films with the divine Marlene....Wiene I still have to get around to, anyway also legendary is Metropolis by Lang and the films by Dreyer which produced nothing but masterpieces