Kids, make your self a favor, and go watch it, it Will blow your mind.

Inland Empire a 2006 co-produccion with three countrys: Poland, France, and United States: The main plot follows Nikki Grace, an actress who was selected to play an unfinished movie re-make called “On high in blue tomorrows” that is said to be cursed. While she falls into an alternate reality between her life and the characters story she is playing.

The movie seems to follow various storylines and tales structures. It kind of reminds elements of authors such as Ambroise Bierce, Jonathon Keats and Lovecraft. The tells and storys of this authors often oscillate between the satirical humor, the terror, the science fiction, and the surreal: they are the authors who create repulsive works, and concretely uncomfortable. This authors often pick the simples and more basic experiences of the human being and paradoxically the most difficult to identify and understand, and puts them as the main axis of story. Leaving our protagonists with almost secondary roles. What really matters is what goes behind the experience of being human, that emotion. That often seems like a state of mind. The fear and repulsion are taken to the extreme and often down with a subtle element. In oil of dog-Ambroise Birece the tragedy and extreme consecuences are triggered by what it may seem as a simple choice. But this triggereds always end up in mental experiences, a lonely road that is down withing everyone of us. Usually this old tales are base down the unknown but usually is not just about the narratives that combo withing it.

The morbid with the depth of human experience and completing elements that not only form a non-aesthetic part but also part of the tools used: satanic moments, fantastic, and that are so real that they disgust, and cause anxiety. The normality of life of the whoever live it seems to increase in size and things seem to be getting even closer. When we speak of terror and fear and beyond, we establish that the reader has to have a degree of closeness to the type of images and feelings that the author wants to establish. the elements that can vary from being from a heart beating in a vase to the scrutiny of the description of a face. Within the literature can be expanded, and can enter in maximum detail, with the result that the reader will feel uncomfortable, to dislike the proximity that these elements appear. Fear can be born of any normality, and at first glance, these authors do not present it like this, in most cases, but fear can also bring that extraordinary element that happens, for example, in the Inland Empire. That surreal element. Inland Empire is linked to the narrative structure and the narrative elements that David Lynch has always had in his films, the difficult sequences to understand, the narratives and plots that seem to skin the real and abundance of each character and the sitariness without modesty that seem live. In Inland Empire, the choppy intersections seem to act like dreams. Dreams do not have a complete or complex structure, they do not follow a script, at one moment a monster chases you and in the other you are in a bomb shelter. There is no conscious choice of what happens in dreams, and what happens in dreams never seems to have a clear and real time space. You can dream that you are falling and wake up immediately or continue dreaming and almost immediately stop in your room, which means that the scenarios in which they happen are arbitaries and are not completely correlated. And in some sense this lack of structure we have when we are face to face to our mind in a more primitive state, like when we are hungry, for example our mood can change and we can perform acts of which we later repent. But this basic need, that basic feeling can appear more literally within states and emotions to which we are not completely connected or conscious.

. The fear and the disgust in this case, not only comes from history as a whole, but from the way in which these characters and almost sporadic moments appear. The characters seem to represent an element as in old stories where each character represents a new feeling within history.

Where the surreal is born is in: The approaches to the characters: By this I mean that the constructions that lynch does always follow the same structure, the character always has a brutal depth but it has because the characters do not represent only a person if do not represent the maximum approach to different states. In the purest senses. The close-ups of chambers give the awfulness of the horrors they can become. and simple elements like sweat can represent what this person is in this moment. I feel that visually it is something that accompanies and gives way to the senseless, the fantastic. Most of the time that the camera sits on someone usually always feels like an omen and at the same time it is a moment of tension and expectation. Is lynch who we are talking about so we are to the real expectation to catch every glass of sense that we possible could. But at the moment it seems to be always the time for the fantastic and surreal to happen. But the surreal accompanies the feeling of disgust and fear that has throughout the film. The feeling of fear throughout the film is given by the fact that reality and virtual give a turn of 180 ° and there begins to have a counter-plane. At the moment when reality and the virtual stain each other, there is a change and it is the right moment for things to take another turn: Here is where the surreal and the fantastic begin to have their own protagonism. Slowly we see that the main plot is turning around and the Character of the remake start to be the new protagonists and the real protagonists start to become fake. Wich is an open door for reality surpasses fiction. Now, thinking that Lynch always seems to do a search for the unconscious recognito of our condition, it begins to make sense of everything that happens. Because seeing Inland Empire is like seeing a corridor of imagination almost as uncontrollable as the dream. It feels like the sense ofthe story is brought by the narratives explorations that are been able to exist thanks to the endless lack of a structural narrative. It feel like this movie is more a search for the cinematic deepth, withing the differents subject lready knowns of lynchs, this is a dream with outthe classic cinematic cannons. My theory is that the narrative power of this movie dosn’t neccesarily comes from a lineal or structural narrrative, but it comes from the possibilities that this movie offers, the differents rythms and tempos, the scrutiny of the visual composición, and the way it’s film, that is indeed of the main chracteristics od Lynch is every angle is shown. So in conclusión, yes, the main plot of this film is not necessarily a classic plot, but the search of different cinematographic compositions and some kind of reality from the depths of the human mind. Lynch dosn’t care about the viewer, he cares about the cine. The cine withing the cine, the fear, the different scenarios that often brings different sensation. And watching this movie is more an expierence as it is a final product, is seems a personal expierence ’cause in some sense we are in somobody else mind, dream, i may say. At the end, the everyone Will have different ideas of what this film, and it almost seems like each one of them is valid and true in a certain way.

By: Jo Stark

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