The closest anyone can ever get to a feature-length, fully auteristic film. This is like drilling a hole into Lynch's head and projecting what's inside - from beautiful scenes (the Polish dinner table) to disturbing (the spotlight face!) to plain brilliant (everything where Dern plays the beat-up whore). Analyzing the film is not the point: this is about setting tone/mood and it is all done masterfully. Cuddle up next to your girlfriend and watch alongside Bergman's Persona for a definite mind-f
This is an intense film. It was brilliant. I wouldn’t really say I liked it, as such. Nor that I exactly enjoyed it. But it was really good. Fantastically grim atmosphere, a captivating performance by Laura Dern, & some of the most truly frightening scenes & shots I’ve ever witnessed in a film. I was disturbed & given shivers down my spine more than once. If you’re into receiving a visceral and emotional feeling from a film (and not a particularly pleasant one), Inland Empire is a great choice.
Not a film you should try to analyze or interpret, but to experience, like a dream. Lasting three hours, INLAND EMPIRE is difficult, consuming and often depressing. But after a week you realize you're still trapped inside it. And you might never want to see it again.
Fantastically adventurous, I have my own theories on what is happening, and I think everyone who sees this film will form their own ideas. The grainy quality of the digital film can make it difficult to appreciate aesthetically, but feels necessary when considering the range of Lynch's visual palette. Trying to solve what is happening keeps the 172 minutes interesting.
Lynch paying tribute to himself. His technique, mastery in conveying emotions by camerawork and music, as well as his skill in interwining different planes of the story are to be admired. However, three hours of psychodelic images forming a riddle seemingly without - unlike 'Mullholland Drive' - a solution was just too much for me and the admiration become boredom at the end.
São três horas labirínticas, oníricas, tal qual um pesadelo saído sem filtragem das profundezas do subconsciente 'lynchiano', cuja ausência de lógica na sequência narrativa pode vir a ganhar alguma forma, em potencial, na cabeça de cada espectador. Um banquete para quem anseia por programas artísticos alternativos desconectados da vertente mainstream.
THE INLAND EMPIRE HAS ME.. immersed in a thoughtless tangent, engaging my psyche in what is pathos unbridled, unhinged, streaming waves ill-fit to serve oceans of predictable twists and turns located in a scenic pond where all reflections are seen for what they are. in opposing fashion, i am assaulted by grey and jet black hues of emotions given flesh, industrial rooms breathing life into shapes and forms which voice this gluttonous tone of logic filling itself with poisonous, beautiful lead. 90
Though Mulholland Drive will always have a place in my heart as Lynch's best film, this easily grabs a close second. I'd say it's the most bizarre chain of events I've ever seen, though it's fairly clear this is not a chain of anything. What is it then? It's brilliant. And the most terrifying thing you'll ever see. This is really Lynch's most horrifying and absurd film to date. It's hard to know what to say about it.
Even by Lynch's standards this is incomprehensible (I say that as a fan), with lots of tenuously connected and underdeveloped plot strands never quite cohering into something that works as a larger narrative. However, it is a very moody, sensuous film much of the time, and Lynch's use of DV to create claustrophobia, ugliness and tension is something to see.
Inland Empire works on a visceral level, playing out as a meandering nightmare that is at times terrifying and at others tedious. Dern gives a hell of a performance, but while Lynch still kept me interested on the whole this seemed too self-indulgent - the homages to other films (notably The Shining) feel blatant, for example. If nothing else, it succeeds at making you feel dirty.