David Lynch
David Lynch is probably the darkest contemporary filmmaker and certainly one of the most disturbing. His films are a strange combination of unreal characters, quaint, human and stories that inevitably will end up going into the more twisted extract the unknown dimension.
Transmutation of characters, the prophetic, and eroticism is the raw material and transforms models that artist. The ordinary becomes an unintelligible mess that has evolutionary consequences in the film conception of the observer.
There are two schools of thought around the figure of Lynch: The first view is great, which is The Director and that is too deep to be fully understood, the second believes that it is presumptuous in the extreme, creating slop and passed by overwhelming talent. The gentle reader should have its own point of view, but particularly I am a staunch apologist for the former group.
is impossible genius goes unnoticed, no matter how or how much groundwater is being marginalized. In the case of Lynch is the artiste impacting, causing reactions and enhances the heartstrings of moviegoers. Too much emotion is the constant and therein lies the reason for the instant apprehension of the spectator (my spirit still shudders to remember the desolate scene " La Llorona de Los Angeles " Rebekah Del Rio, and his commanding voice) . Requiring
dominant idea or a linear plot would be too childish. Why do that when you have an imagination so prolific source of all paradox? Tied to the convention would be like cutting the wings, as a suicide-in every sense of the word.
That was precisely what happened in "The Elephant Man", "Dunes" and less on "Blue Velvet." He went to the movies too ordinary when it was the precedent of "Eraserhead." The natural consequence was mass acceptance and glorification of such films, but on the other hand, for the more thoughtful, was a hole that could only fill "Lost Highway" or the aforementioned "Mulholland Drive."
"Dreams, mysteries and secrets" was the title in Castilian, or at least in Latin America. Although this label may seem ridiculous or unreasonable, reflected in the fund and accurately, the broader aspects of the plot. The term "dream" is for Surrealism as elegantly executed the second half, "mysteries" because at the end of the movie one has not understood anything and "secret" because it is a mystery the director's original interpretation.
film is definitely at its most grim but so is at its most exultant. Art should be a like a sledgehammer to snatch our attention, we transformed with a blow of emotions and to open our horizons to the extent not dreamed of posarlos because we ignored their existence.
Transmutation of characters, the prophetic, and eroticism is the raw material and transforms models that artist. The ordinary becomes an unintelligible mess that has evolutionary consequences in the film conception of the observer.
There are two schools of thought around the figure of Lynch: The first view is great, which is The Director and that is too deep to be fully understood, the second believes that it is presumptuous in the extreme, creating slop and passed by overwhelming talent. The gentle reader should have its own point of view, but particularly I am a staunch apologist for the former group.
is impossible genius goes unnoticed, no matter how or how much groundwater is being marginalized. In the case of Lynch is the artiste impacting, causing reactions and enhances the heartstrings of moviegoers. Too much emotion is the constant and therein lies the reason for the instant apprehension of the spectator (my spirit still shudders to remember the desolate scene " La Llorona de Los Angeles " Rebekah Del Rio, and his commanding voice) . Requiring
dominant idea or a linear plot would be too childish. Why do that when you have an imagination so prolific source of all paradox? Tied to the convention would be like cutting the wings, as a suicide-in every sense of the word.
That was precisely what happened in "The Elephant Man", "Dunes" and less on "Blue Velvet." He went to the movies too ordinary when it was the precedent of "Eraserhead." The natural consequence was mass acceptance and glorification of such films, but on the other hand, for the more thoughtful, was a hole that could only fill "Lost Highway" or the aforementioned "Mulholland Drive."
"Dreams, mysteries and secrets" was the title in Castilian, or at least in Latin America. Although this label may seem ridiculous or unreasonable, reflected in the fund and accurately, the broader aspects of the plot. The term "dream" is for Surrealism as elegantly executed the second half, "mysteries" because at the end of the movie one has not understood anything and "secret" because it is a mystery the director's original interpretation.
film is definitely at its most grim but so is at its most exultant. Art should be a like a sledgehammer to snatch our attention, we transformed with a blow of emotions and to open our horizons to the extent not dreamed of posarlos because we ignored their existence.
