What the hell was that?

What the hell was that?

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youtube.com/watch?v=XRh2L7tJqcI
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David 'lol so randum xD' Lynch

A fantastic film.

at least it was interesting. what's not to like?

I did like it. Especially the credits.

A story about a woman in trouble.

Is this better than Mulholland Drive?

That was boring as hell

A waste of 3 hours.

>Mulholland Dr was boring
not enough colorful sky-fighting men and planes exploding?

fuck off faggot

David Lynch filming 300 hours of footage for a 3 hour film with his 2006 iPhone.

a test.

seems it worked.

yeah man, the credits were great desu.

it was an experience. i like that Beck showed up on the soundtrack.

>calls you out
>tells him to fuck off
L0L

the unconscious faggot

If you thought MD was boring, you'll think this is worse.

That's one of the other scenes that really stuck out to me, along with youtube.com/watch?v=XRh2L7tJqcI of course. Great music throughout.

I loved Eraserhead if that matters

A little drawn out, but there are some well-done scenes that make it worth the watch and the soundtrack is exceptionally good at certain points. I enjoyed the scene in the backyard during sunset and the climax in the sewer / basement thing. One scene I did not like much however is the one in the beginning when the mom from Twin Peaks shows up to the main character's house - I found it too drawn-out and dialogue-heavy considering how early it takes place in the movie.

It definitely doesn't hold up to Lynch's more refined efforts though (obviously).

Lurk more, you can't "call people out" on Sup Forums you fucking norm.

I hope you die in a horrible car accident.

a nightmare

What do you all think about the choice to use a cheap handheld digital camera?

Lynchian Convention.

The future of cinema. Hyperlinked kino.

>gets called out
>has to think of something quick
>NEWFAG

Pure unfiltered Kinögràphiè

I thought it was interesting. Doesn't do much for the look of the film but definitely establishes a unique, unsettling feeling throughout the film. Makes the film seem both more and less realistic.

>shoots a turd floating in a bowl for 3 hours
>HURR YOU JUST DONT GET IT PLEB NOT ENOUGH SPLOSIONS 4U?

A metaphor for Transcendental Meditation.

Lynch once donated a million dollars to the TM organization for a month of face-time with TM-founder Maharishi Mahesh Yogi via closed-circuit TV, and Maharishi's interpretation of advaita vedanta seems to permeate the movie at the deepest level, or so I see it.

Pre-enlightenment, one's "self" is caught up in the moment of experience and all experiences are seen to be some intimate part of selfhood, causing pain and suffering. Laura Dern's characters can be seen as metaphors for this, or literal physical incarnations through which the soul of the Woman in Trouble interacts with the world throughout history. These experiences drag the WiT through terrible torment as she identifies with each and every one of them.

However, at the end of the movie, Laura Dern kisses her and disappears, which symbolizes samadhi (AKA "pure consciousness") where the observer, observed and process of observation merge into a single point, leaving only the quality of the observer., the WiT herself. This is pure Self— I am —without any qualifiers. Samahdi is timeless because time is part of observable reality and doesn't exist in samadhi, and so the WiT remains still for some unknown period after Laura Dern disappears but eventually a knock attracts her attention outward.

The aftermath of samadhi during TM is the feeling "that mother is home" -all is right with the world. And so, as attention turns outward post-enlightenment, the WiT—the Self—finds that her family is at home and that all is right with the world.

The end of the movie is interesting: with the perspective above, it can be seen as showing how the world continues, with the newly enlightened Self behind Laura Dern's eyes, as she continues as an interested, but not participating, Knower of Reality (a rishi), watching what Maharishi calls vedalila —the play of pure knowledge with Itself—the dance of creation.

And so the play —the dance—continues until the end of time.

How does one liberate himself?

One of Lynch's best.

It's a film for fans of Lynch that know and understand his works and TM. Without a knowledge of those you've got no chance.

They're showing Twin Peaks; Fire Walk With Me at the local Alamo Drafthouse in a few weeks, I've only see the show on Netflix. What should I expect? What should I order from the menu?

It's a very good film, but expect to leave with more questions than answers.

The Pink Room scene is mesmerising. I'd love to hear that music with a good sound system.

Did you right this? That's extremely interesting, and I'd love to read more, both on TM and it's application to the movie

What's up with TM anyway? Is it just a meme Lynch fell for or is there anything to it?

Inland Empire is in the same headspace as Mulholland Drive and Lost Highway but is the weakest of the three although still greatly enjoyable if you're in the mood.

Anyone else feel like MD was sort of a watered down Lost Highway? LH was much more tense and vivid in my opinion. And I understood MD right away, whereas with lost highway I had to sit down for hours to work everything out. Mulholland Drive was still great, perhaps the best performances in a Lynch film, and the surreal funny scenes were nice. But for me at least Lost Highway seemed much more complex and intense and captivating

Lost Highway is a great movie overall, and has some brilliantly Lynchian moments, but drags at certain points in its second half. MD is exceptional and utterly mesmerising from start to finish.

I did feel the drags and I'm curious if they'll go away with a rewatch now that I understand the significance of everything. I will agree that MD was consistently well done, but mesmerized wasn't really how I felt. I enjoyed it but didn't feel the love for it like so many do.

Best part of the film desu
youtube.com/watch?v=RVvGRIxAu9I

>Lynch will never direct another film

I still don't care for some of the music choices in LH.

scary face was scary. i screamed at the tv

Daily reminder that David Lynch wasted most of his talent on incomprehensible garbage. He is perfectly capable not only of making accessible, mainstream films with coherent story lines, but making them with high quality. The Elephant Man, Blue Velvet, The Straight Story, and Twin Peaks are the best things he ever made, while Eraserhead is his only successful attempt at an avant-garde film.