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Inland Empire (Lynch, 2006)

A Quick Thought on Lynch and Film Violence

One reason I’m completely unconvinced by all of the critical praise being heaped on the Coens’ treatment of evil and violence in No Country for Old Men is because violence — real, non-metaphoric violence — is always sorrowful and tragic. Lynch seems to have been born with a peculiar sensitivity to that fact, and has spent his career perfecting the formal means of articulating it.

Recent Developments

Today is August 16th, which means an entire month has passed since my last post here. I believe that’s a first in the six-year history of Long Pauses.

The Elephant Man (Lynch)

Early Lynch

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Love and death are ethical and metaphysical issues for Lynch, but they’re bound up in biology, too. Human flesh and organic processes are mysterious, unreliable, and frightening in these films. You can practically smell the decay.