by Landon Palmer.
It’s been nearly ten years since David Lynch released a film, but the director seems to have etched himself into a permanent place in cinematic topicality. Even without the new releases of Twin Peaks and Eraserhead on Criterion, Lynch’s work is an eternal point of entry for cinephiles, a means of accessing an interchangeably abstract, confrontational, darkly funny, discomfiting and mesmerizing style of filmmaking that stands alone.
Lynch’s work is deeply indebted to other strands of filmmaking – from its references to Classical Hollywood to the now common use of the word “Lynchian” in describing an array of work – but his films simply do something that other films and filmmakers don’t. That’s something is hard to explain in clear terms. And for Lynch that’s entirely the point.
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