There are certain narrative conventions that have developed to allow the cinema audience to be carried along by a story in sure and certain hope that they know what is going on. Directors have long loved to use these to trick the viewer, carrying them down dead ends with Smart Alec glee. But it is David Lynch who tries to actively go against them to confuse and perplex. It may not make any sense, but INLAND EMPIRE is an amazing dream-like experience for those who are willing to follow Lynch down the rabbit hole.
The story, if there is one, seems to concern an actress (Laura Dern) as she wins a plum role in a movie. It turns out, however, that this movie has a dark and sinister past, and extremely strange things start happening. I think. I’m not sure if that’s what it is about, but I’m definitely confident about the ‘extremely strange things happening’ bit. Nevertheless, individual scenes are mesmerising, even if one doesn’t understand the context, alternately deeply disturbing, moving, and very funny. David Lynch is the master of mood, and in this film he shows off his skill with great aplomb.
There are so many things going on, so many characters and competing realities, that it would be easy to lose sight of the lead. It is all the more remarkable, then, that Laura Dern has given her best ever performance here. She plays terrified, ballsy, innocent, everything, with an amazing naturalism and lack of self-conciousness. Her whole role could be compared to Naomi Watt’s dazzling and startling audition scenes in INLAND EMPIRE’s partner film, Mulholland Drive, but sustained over 3 hours. Justin Theroux is also excellent as her co-star, and there are a myriad of great cameos from the likes of Jeremy Irons, Harry Dean Stanton, and Grace Zabriskie.
It is quite heavy going, and this wouldn’t be a good entry-point to those unfamiliar with Lynch’s work, but for those with an open mind and consciousness, it is a revelation. Filmed with digital hand held cameras over many years, it shows what can be done with imagination and full directorial control, regardless of budget. The coda over the end credits is an ecstatic romp, which makes me wonder whether it is as serious a film as it might seem; Lynch is having fun with us, and if you are up for it, I’d urge you to join in and lose yourself in this strange maze.
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