David Lynch
-
Like Sand Through the Hourglass: Twin Peaks: The Return
In the 1970s, the experimental filmmaker Gregory Markopoulos wrote a piece called “Towards a Complete Order of the Temenos.” In the years that followed, he began to take all of his previously made films and tear them apart frame by frame, taking the pieces and parts — along with newly shot footage and black and white leader — to create what would be his final project, ENIAIOS. The career-spanning contents of the film were combined and alternated to form an epic flicker film encompassing a lifetime of materials and ideas. The project, an 80-hour cycle of films, was completed but not […]
by Gina Telaroli on Jul 14, 2017 -
Five Ideas Regarding Twin Peaks: The Return (Parts 7-9)
1. The Return of the Dead: Everybody is understandably enjoying the new Twin Peaks’ end credit sequences. In an utterly unexpected twist, David Lynch has decided to take us once a week to either The Road House or the Bang Bang Club to play us out with a musical guest. This is a strange enough maneuver all on its own. How many non-variety shows feature a different musical act each week, enfolding them however lightly into the story-world? (Honestly, The Young Ones is the last comparison I can think of. Any others?) And Lynch and partner Mark Frost have proven […]
by Michael Sicinski on Jul 11, 2017 -
Twin Peaks: A Language More Powerful Than Words
Of all the remarkable aspects of Twin Peaks: The Return, perhaps the strangest is not something that is present, but something that’s absent: the utter lack of any recognizable psychology. Characters simply aren’t motivated by the familiar psychological archetypes and cliches that underpin almost all narrative entertainment, especially series-based television. It’s not so much that the plot is inscrutable or resistant to interpretation, but that characters react to what’s happening around them in ways that look and feel familiar, but which betray little if anything of what’s going on in their heads. As opposed to shows like House of Cards […]
by Nicholas Rombes on Jul 10, 2017 -
The First Rule of Twin Peaks Recapping? Write Down the Facts
For the past several months I’ve been privileged to write the weekly reviews of Showtime’s Twin Peaks revival for The New York Times. It’s been rewarding, week after week, to plug into the mind of director David Lynch, explore the skewed universe he’s built with writer Mark Frost and understand how the show’s version of modern life offers its own interpretation of humanity’s majesty and misery. Critics often get asked if scrutinizing art makes it harder to enjoy, but I’ve always found the opposite to be true, especially when it comes to writing regularly about a TV series. When you’re […]
by Noel Murray on Jul 5, 2017 -
Watch: “The Art of David Lynch”
The title is literal: this video essay looks at some of David Lynch’s key visual inspirations, including Rene Margritte, Edward Hopper, Arnold Böcklin and Francis Bacon.
by Filmmaker Staff on Jun 29, 2017 -
Twin Peaks, Parts 7-8: Re VFX and Almost Nothing More
I’ve got zip (that I want) to say (at this time) about Twin Peaks parts seven and eight in terms of The Bigger Picture, but I do want to delve into episode eight’s widely-presumed anomalous status — that it marked an unprecedented event not just in TV (true, I’m pretty sure) but in larger visual culture. I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than normal TV to meet the word count. My feed […]
by Vadim Rizov on Jun 26, 2017 -
Five Ideas Regarding Twin Peaks: The Return (Parts 1-6)
It would require a doctoral thesis to concoct a coherent theory regarding the deep intellectual structure and symbolism of the new Twin Peaks, and I am sure that there are numerous academics already hard at work on the task. There are early indications this series could prove to be David Lynch’s masterwork, and one reason for this is Lynch’s commitment to operating in the register of atmospherics and affect rather than plot. This means there are emotionally resonant elements of the series that will most likely defy any concrete narrative explanation. (“One-one-nine!”) This is entirely by design. Twin Peaks is […]
by Michael Sicinski on Jun 19, 2017 -
Twin Peaks, Episodes 5 & 6: Five Notes (The Number Means Nothing)
Having watched episodes 1-4 in one marathon session, what I expected is true: the new Twin Peaks is considerably less satisfying taken in one distanced hour at a time. This needs sustained duration to really breathe. I’m not fool enough to try to parse What It All Means at this time, but five stray notes: I seriously doubt David Lynch has spent more than, at most, five seconds in his life wondering if he’s doing something too “difficult” or inaccessible for a hypothetical viewer. It’s been both unsurprising and mildly annoying to read umpteen TV recappers who — unable to go about their […]
by Vadim Rizov on Jun 15, 2017 -
Watch: David Lynch’s Use of Noise and Interference
Andreas Halskov — whose useful overview of David Lynch’s visual references we posted a while ago — has also gone deep on the director’s much-discussed use of noise and interference, examining it as a stylistic device, recurring motif and general theme.
by Filmmaker Staff on Jun 13, 2017 -
Watch: All of David Lynch’s Bizarre and Beautiful TV Commercials
With his new Twin Peaks: The Return scrambling our minds every Sunday, we at Filmmaker are experiencing a collective case of the feels for David Lynch these days. Giving us our fix until Episode Six streams this weekend is this video of Lynch’s television commercials compiled by Jeff Keeling. As with many directors, Lynch directed many of his best short TV spots for overseas brands, so look for work here like a Twin Peaks tie-in spot for Japan’s Georgia coffee that I, at least, have never seen before. A complete list of commercials included is below. (I venture to say […]
by Scott Macaulay on Jun 9, 2017
