Inland Empire is primarily a neurotic/psychotic/philosophic carousel.Let's chop off the first half hour,correct?Not really,the finale is an absurdest dance hall commencing us to sway with the ladies.So..why the rabbits?Hell's broken loose and those fellows want to remind to that poor woman she's mentally doomed?Probably...
When David Lynch is behind a movie you cannot expect that you will understand the film to a 100% when its over. And so is the case with inland empire. But it still establishes a feeling and paints up a nightmare landscape seldom seen before. Lynch is the master of setting that kind of feelings and at the same time telling a very confusing tale. Even thou i dont understand it i very much enjoyed watching it and probably will do it again.
After Mulholland Drive, I believe this is a step to far. MD is the peak whereas this film has gone to far in too many directions. It's watchable to the point of following David Lynch's work. But it will be a very long time before I pick this up again.
Its a david lynch movie what more do yo u need to understand? you dont get it at all, thats the diffrence, but hey, its still really cool! :D Kind of like impressionism as a movie with a cause...
Ambitious, but way too confusing to call a masterpiece. Nevertheless, there is something so utterly loveable about a film that makes no sense whatsoever. Although INLAND EMPIRE doesn't really have a story, Lynch creates an intense, dream-like atmosphere that is intriguing, even if it is impossible for audiences to understand. While Lynch movies can be pretty mediocre in terms of acting, Laura Dern does stand out in several scenes, although I wouldn't call her Oscar-worthy. The biggest problem with INLAND EMPIRE is the running time; movies this vague should not take up three hours of a person's life.
Hard to follow, even by Lynch's standards. The basic premise is clear and the plot seems to be lying there somewhere, but a lot of things thrown in just confuse the hell out of you. Dern did a hell of a job surrounded by the usual Lynch cast including Stanton and Theroux and Jeremy Irons thrown in the mix for good measure. Look for a cameo early on by William H. Macy.
Really depends on your taste but even people with the worst taste would find it hard to bite into this one. The plot pulls you in every direction possible. If a plot is to be found. After three hours; granted interesting ones,youstill think wht was the point of that??
I have two complaints about this film: Laura Dern being present, as well as the film being a bit too long for the type of film it is. However those aside, it's very well done. I recommend this for those who've already seen Mulholland Drive and Lost Highway.
Eu nunca fui partidário da teoria de que filme tem que ter uma linha narrativa comum ou de que cada detalhe de um filme deve restar solucionado ao seu término. Mais que isso: o Lynch é, sem dúvidas, um dos meus diretores preferidos, o que indica a minha simpatia por filmes mais incomuns, digamos assim.
Ocorre que "Inland Empire" abusa do direito de ser confuso e absurdo. O filme me pareceu completamente hermético. Claro que dá para pescar uma coisa ou outra, mas é muito pouco para um filme de quase 180 minutos.
O que mais surpreende é que o filme tem todo o jeito de ser interessante, já que o elenco é dos melhores do cinema recente, os ingredientes lynchnianos estão todos presentes, a sinopse é inicialmente instigante e a parte técnica é perfeita como de costume. O que pega mesmo é a inexistência de uma vontade do diretor em fazer o espectador compreender essa viagem toda.
A trama se desenvolve (?) a partir da filmagem de um remake de um filme polonês. Segundo reza a lenda, os protagonistas do filme original teriam sido assassinados durante as filmagens. Aí que começa a viagem do filme: os protagonistas do remake - a Laura Dern e o Justin Theroux, sempre ótimos - acabam vendo a vida real se confundir com a ficção. Pior: o remake também se mistura com o filme original. Pior ainda: os atores do filme original aparentemente também interagem com os atores do remake. E assim por diante... O que se vê é uma sucessão de tramas paralelas confusas e sem um nexo causal mais sólido entre elas. As narrativas não apresentam uma linearidade cronológica compreensível - nem sequer dedutíveis - e os personagens aparecem desempenhando funções mais ou menos similares em localidades repetitivas.
Os takes de aproximação súbita no rosto dos protagonistas são uma constante que, embora sejam artisticamente interessantes, em nada contribuem para a compreensão da trama. Outro aspecto que permeia o filme é a proliferação de alguns signos, como uma chave-de-fenda, uns coelhos, uns relógios... Por mais escolado que eu seja no universo do diretor, não consegui criar um link mais direto entre esses elementos e alguma explicação um pouco menos abstrata. Aliás, abstrato é o adjetivo perfeito para o filme.
Perto de "Inland Empire", outros filmes do Lynch parecem lineares e simplórios como "A Dama e o Vagabundo". E pasmem: nesse caso, é um elogio.
Então, até que caia sobre mim um raio de epifania que me mostre algum sentido mais razoável no filme, eu me vejo obrigado em deixar o filme com essa cotação bem ruim. Meio a contragosto, mas OK.
Para completar, achei bem sem criatividade a tradução do título para "Império dos Sonhos". Qual foi a intenção? Dar uma idéia de continuidade para o péssimo título "Cidade dos Sonhos"?
I couldn't tell you what happened, but whatever did, I liked it. A film prof told me a student wrote a paper about how the film is all about the sound design and can be understood that way. Intriguing.
With a Lynch movie, people always want to know if it really makes sense in the end. Does "Inland Empire"? I think so, but it all depends on what it illicits within you. I'll admit I'm not sure how all the threads fit together, and really it doesn't matter. I don't think you have to understand every component of a Lynch film to enjoy it. "Inland Empire," to me, is a surreal stygian nightmare vision -- paranoia, the subconscious, fear, jealousy all flickering across the screen. Ultimately, this serves to expand our own awareness of these issues and how they may play out in our own personal lives.
Unforgivably lengthy, with an internal logic so obfuscated it makes "Eraserhead" look like "The Straight Story". The cinematography looks better than I thought it would, at least. Lynch's own personal "8 1/2". A shame I didn't care for "8 1/2", either.
I know I probably shouldn't complain about how this film "didn't make any sense". Yes, that was probably the intention, and yes, we're supposed to appreciate it as this collage of bizarre images and sounds and all that crapt... but I'd be lying if I said I enjoyed it, either ways.
The first 45 mins are so intruiging. But beyond that, the film became COMPLETELY incoherent, I love D Lynch and was sorely disappointed. The film looked beautiful however and the cast was excellent as usual.
Hey, slow down, careful, you sure you want to see this one? If you love David Lynch and know of this film, okay. Enjoy!! Otherwise caution to those who jump in blind. Wow, wow, wow. There goes 3 hours experiencing David Lynch's "art" that I'll never get back. Whew, it is a doooozy. Not for the weak or inexperienced or average movie goer. It is way out there. Felt like an very long roller coaster and I love roller coasters even when they make me sick.
If you are going to experience this be committed to seeing the whole thing in one shot if you can.
Three hours of David Lynch at his most fragmented and unsettling. Normal Lynch themes and techniques run through story, infidelity, identities changing, cyclical editing, Hollywood artifice, oblique dialoge, deadpan comedy, and the most disturbing special effects since Eraserhead. It's a feverish nightmare with unrelentingingly haunting and ominous music and a few pop songs(Beck's black tamborine, and doo-wop classic, "The Locomotion") and unique industrial/pop hybrids by Lynch himself. The film is shot on digital as opposed to film, and Lynch milks every trick lighting effect you could imagine in this film, and if nothing else he's really expands the possibilities of digital movie-making, by using the washed out colors and light sensitivity of his cameras as opposed to trying to recreate the look of film. Laura Dern shows an incredible amount of range and manages to hold you to the screen with her for the entire film, and at three hours that's a feat. My biggest complaint is the length, it's too long to sit in a theater, and I was literally exhausted by the end. If you liked Mullholand Drive, Lost Highway, Eraserhead and the more abstract films of Lynch, then this is his masterpiece. It's even got scenes from his online series "Rabbits", linked into story, and appearances by Laura Harring and Justin Theroux(who's a main character in similar position as he was from Mullholand Drive, connecting it directly to the rest of the Lynch universe). It gave me a headache too, but I kinda expected it that, but it was one of the most rewarding headaches I have had the pleasure of receiving.
The sort of movie which attempts to make rating systems feel foolish. Still, he was trying to create a mood rather than a narrative (I think) and I felt genuinely creeped out all the way through. So it gets a majority of stars, if not a stellar number of them, for doing something right.
This movie is like watching a film version of Naked Lunch, and I don't mean the David Croenenberg version, I mean an actual film version of Naked Lunch with all the disjointed scenes. It was only missing alot of sadomasocism and homoeroticism. I'm sure this is a good movie, but I didn't enjoy it as much as Blue Velvet or Muholland Drive.
One of the strangest, most disturbing, most incomprehensible, and most moving films i have ever seen. The whole movie builds and builds over its 3 hour timespan to one of the most satisfying endings in recent memory.
lynch dispenses with narrative structure and creates a claustrophobic nightmare. i admit i need to watch it again.... it's sorta like a cubist painting; don't think about it too much or you'll get a migraine. with a fantastic performance from laura dern, who well deserved at least a nomination from the academy. it'll be interesting to see where lynch goes from here...
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