David Lynch (1946-2025)

 

There are few giants of cinema here today as there are filmmakers that people will name as an influence. John Ford. Stanley Kubrick. Orson Welles. Ingmar Bergman. Agnes Varda. Federico Fellini. Akira Kurosawa. There are certain names that redefine what cinema is as cinephiles would often have collections of these filmmakers because of the kind of films they have made. They were more than just filmmakers. They were artists. David Lynch is one of them as he is the most original American filmmaker cinema has had since the likes of Ford, Kubrick, and Welles. What set him apart was his approach to surrealism and how he views something that can be considered ordinary. Yet, there was nothing ordinary in what David Lynch did as there was an element of darkness and danger about him that entranced audiences whether it was through film or television or even music.

I first heard of David Lynch in the early 1990s though I had no clue who he was as all I have ever heard was, he was this guy who made weird movies. I heard of things like Blue Velvet and Twin Peaks, but this was before I understood what cinema is as I did not know what this guy was about or what his films were about. Then in 1997 as I was starting to get an idea that movies were not these high-budget blockbusters, or these laugh-out comedies. I realized there was so much more through indie films but also late-night softcore porn films, but David Lynch was still this weird anomaly that I was unsure about. At the same time, I was a few years into my obsession for Nine Inch Nails and heard there is a new song from them as it is for a film by David Lynch called Lost Highway. I bought the soundtrack when it came out since it was curated by Trent Reznor and there is this famous Rolling Stone magazine cover featuring both Lynch and Reznor that I never got but it was cool as fuck.

I saw commercials for the film as I wanted to see it, but it wasn’t playing at a movie theater near me as the one place I knew that was playing there was a movie theater between the areas of Buckhead and Buford Highway as my parents didn’t want me to go there. Not surprisingly, the theater is gone as it is an area I rarely go to although I have not been there in a long time. I ended up waiting a year to see Lost Highway when it arrived on HBO as I saw it late one night and thought it was a cool movie even though I had no idea what it was about. Even though I just got the film on Blu-Ray more than a year ago from Criterion, I still do not have an idea of what the whole film was trying to say but that did not matter because it was an awesome film.

I would watch a few more of Lynch’s films around this time such as Blue Velvet, Wild at Heart, Dune, and Twin Peaks: Fire Walk with Me as I did like the first two films, but I didn’t like the other two though Twin Peaks: Fire Walk with Me did grow on me. This was all before Mulholland Dr. came out as I waited a year to see it when it arrived on TV through Starz! That would end up being my all-time favorite film of his as it is one of those films that I fell in love with, and it made me a fan of his work though there was so much of his that I have not seen. By the late 2000s, I had seen all his feature films, but I felt like I had barely scratched the surface knowing that he also made a lot of short films and TV projects with Twin Peaks being the one thing of his that I wanted to see but I heard there wasn’t a proper release of the series on DVD until years later. After leaving Epinions.com in 2010 and going on my own, I would refine myself more as a writer and doing the Auteurs series. The specter of Lynch still loomed as I knew he was a subject I wanted to cover but I waited till I could get access to every short and TV series that was available at the time.

He was the perfect choice to be my 50th subject where I did a lot to cover his body of work up till that point while I was also awaiting for the return of Twin Peaks. I had subscribed to his YouTube channel while I also learned he also acted in Seth McFarlane’s animated spin-off of The Family Guy in the much-more superior The Cleveland Show as Gus the Bartender.



It is one of the things about Lynch that is always surprising as he often does the unexpected and have fun with it. His music is not for everyone, but it is awesome that he can do something for his own enjoyment, and he has an audience to share in that enjoyment. He is also a damn good actor as one of the last things he did recently, that is the coolest cameo ever is him playing John Ford in the ending of Steven Spielberg’s The Fablemans. That is meta in a way where you have a legendary filmmaker playing a highly-revered legendary filmmaker in a film about the early life of a legendary filmmaker who is telling his own story. Lynch as John Ford is perfect casting he is the only person that could do Ford justice.



Given that today is a sad day as we also lost another revered figure in Mr. Baseball himself in Bob Uecker, nothing will loom as large as what David Lynch has done for cinema and television. He made it okay for the weirdos to make art that not everyone will get. He made it okay for those who live in an ordinary world to be weird. He was also someone that did not take himself seriously while also allowing us to be raptured by darkness. There is never going to be another David Lynch as there will be a hole in cinema that will never be filled. Still, he left an incredible legacy that will continuously be unmatched as there is always going to be an audience that will see these tremendous films, shorts, TV projects, and other things that he did that gave them something. To Mr. David Lynch. Thank you for all the things you gave us. We will miss you.

R.I.P. David Keith Lynch (January 20, 1946-January 16, 2025)

© thevoid99 2025

Midnight Movies: From the Margin to the Mainstream

Based on the book by Stuart Samuels, Midnight Movies: From the Margin to the Mainstream is a documentary film that is about the culture of the midnight movies in the 1970s as it played to an audience needing an escape from the turmoil that had emerged in the late 1960s. Directed by Stuart Samuels and written by Samuels and Victor Kushmaniak, the film explore the six films that would define the midnight movie culture in that decade as well as what it did for the film industry before the emergence of home video and the blockbuster period in films. The result is a fascinating and exciting film from Stuart Samuels.

In the 1970s following a tumultuous period that saw political unrest, culture wars, assassinations, and other things that defined the late 1960s. Audiences wanting an escape from that turmoil as well as mainstream culture where screenings of low-budget films that were outside of the mainstream suddenly became cultural phenomenon. Among them were Alejandro Jodorowsky’s El Topo, George A. Romero’s Night of the Living Dead, John Waters’ Pink Flamingos, Perry Henzell’s The Harder They Come, Jim Sharman’s The Rocky Horror Picture Show, and David Lynch’s Eraserhead. These films that didn’t play by the rules nor were they created or funded by studios, with the exception of Rocky Horror, were films that became successful through midnight screenings in theaters around America based on word of mouth.

With interviews from filmmakers in Alejandro Jodorwsky, John Waters, George A. Romero, David Lynch, and Perry Henzell as well as Rocky Horror creator Richard O’Brien and that film’s producer Lou Adler plus film critics Roger Ebert, J. Hoberman, and Jonathan Rosenbaum. They all talk about the impact of the midnight movie culture where many believe the man responsible for making it happen is Ben Barenholtz who opened the Elgin Cinema in 1968 in New York City and was the one who showed El Topo in 1970 as a midnight movie knowing that it wasn’t some conventional film. For six months at the Elgin Cinema, the film played to sell-out audiences as it started this culture of the midnight movies. The films that were played at Elgin as well as other theatres around the U.S. would play these different kind of films that definitely appealed to an audience that didn’t want to the mainstream films of the times.

Other films such as Tod Browning’s Freaks and Louis J. Gasnier’s Reefer Madness were also part of the midnight movie circuits as they were films from the 1930s that were never well-received as they found new life. Largely because they were films that played to an audience that wanted to see films that weren’t about ordinary people or those that are larger than life. Stuart Samuels’ direction is straightforward as he shoots many of the interviews with the filmmakers and critics talking at the camera with either a film clip or a poster in the background with the aid of cinematographer Richard Fox. With the aid of editors Michael Bembenek, Robert J. Coleman, John Dowding, Lorenzo Massa, and Kevin Rollins as well as the sound work of Euan Hunter, Samuels’ usage of film clips plus newspaper clippings and reports showcase the phenomenon that these films had as well as what it did to the film industry.

Its decline and end definitely doesn’t just attribute to the rise of the home video market but also the blockbuster films such as Jaws and Star Wars where it appealed to a wide audience and were financially profitable. Filmmakers and film critics believe that decline definitely saw audiences interact less and not bother discovering films that don’t play by the rules. Samuels’ direction would play into that decline but also that sense of interest towards those films but also the idea of the midnight movie screening. The film’s music by Eric Cadesky and Nick Dyer is wonderful as it’s mainly low-key in its electronic setting to play into the different type of films that is featured in the documentary.

Midnight Movies: From the Margin to the Mainstream is a marvelous film from Stuart Samuels. It’s not only a compelling documentary that explores the brief but immense popularity of the midnight films but also a look into the filmmakers and films that definitely gave audiences a fitting alternative from the mainstream as well as something that would become phenomenon in their own way. In the end, Midnight Movies: From the Margin to the Mainstream is a remarkable film from Stuart Samuels.

Related: Freaks - Night of the Living Dead - El Topo - Pink Flamingos - The Harder They Come - (The Rocky Horror Picture Show) - Eraserhead

© thevoid99 2016

The Auteurs #50: David Lynch

If there’s one filmmaker in the late 20th Century whose name is synonymous with the world of surrealism other than Luis Bunuel, it’s David Lynch. A name that has managed to inspire many as well as polarize critics and audiences into his work. With films ranging from the strange and violent to odd tales of Americana, Lynch has been a filmmaker that has continuously refuse to define himself. Even as he would spawn many who imitate his visual style and ideals but Lynch remains mysterious in everything he does while refusing to explain anything about his work. Whether it’s in film, television, music, art, or literature, Lynch is an artist that always keep people guessing and have fun playing with their expectations.

Born on January 20, 1946 in Missoula, Michigan, David Keith Lynch was the first of three children to Donald and Edwina “Sunny” Lynch. Donald Lynch was a member in the Department of Agriculture which would allow him and the family to travel all around the country as it would have a profound effect on the young Lynch. At a young age, Lynch was a member of the Boy Scouts of America where his increasing interest in the world of art got him lots of attention where he would travel to Austria with friend and future collaborator Jack Fisk to study under the guidance of Oskar Kokoschka which was only brief due to Kokoschka’s absence.

In 1964 at the age of 18, Lynch would briefly attend the School of the Museum of Fine Arts in Boston where his roommate was future J. Geils Band vocalist Peter Wolf. The experience at the school would prompt Lynch to find a more fruitful education at the Philadelphia Academy of Fine Arts where Fisk was attending as he would become a prominent art director and production designer where he would gain fame for his work with Terrence Malick. In Philadelphia, Lynch would find inspiration in his work while his own personal life was in an upswing as he would marry Peggy Reavey in 1967 and gain a daughter in Jennifer a year later.

More can be read in Cinema Axis in four parts through these links in Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2016

Twin Peaks: Episode 15-Drive with a Dead Girl

Directed by Caleb Deschanel and written by Scott Frost, the eighth episode of the second season of Twin Peaks entitled Drive with a Dead Girl revels in the aftermath of not just Benjamin Horne’s arrest but also in the revelation into who really killed Laura Palmer. With Jerry Horne arriving to represent his brother where it is clear that the two are in trouble over their connection with One Eyed Jack’s, it is clear that Horne is in big trouble while Leland Palmer is in total disbelief over the fact that Horne is a suspect as he starts to act very odd during a following meeting with Special Agent Cooper and Sheriff Truman on the way to the country club.

It’s an episode where there are many revelations about the identity of Laura Palmer’s killers but also into the things about Benjamin Horne as he is major suspect but isn’t the man that killed her. When Pete Martell arrived at the station to talk about Truman about Josie’s recent departure, he would also meet Horne with a message that proved to be just as shocking. What happens would be a bad day for Horne as he is then examined by the possessed Philip Gerard who believes that killer is close. While Truman thinks Horne did it, Cooper doesn’t think so as he thinks there is more that is happening.

It’s an episode where the audiences know who is the killer but also into the strange events that is happening in the town following the return of one of its residents. Still, there are a few subplots that occur as it relates to a few residents such as Norma Jennings who receives a visit from her mother (Jane Greer) who reveals she is married as she introduces her husband (James Booth) to Norma as Hank knows the man from prison which Norma doesn’t know. Another subplot involves Lucy as she returns home with her sister Gwen (Kathleen Wilhoite) as it causes more baffling questions about who could’ve impregnated Lucy along with a quick-rich scheme from Bobby Briggs who discovers the content from Leo's tape recorder. It’s among some of the humorous moments of the episode yet it is largely about the mystery involving the killer.

Especially in the final minutes where a body is found as it becomes clear the killer is loose where Cooper just as he was talking to Audrey Horne who asks him about her father. It’s an episode that is more simplistic and less plot-driven where Caleb Deschanel maintains certain visuals that is hallmarks of the series as well as a quirky flashback sequence with offbeat edits as it relate to Ben and Jerry Horne’s childhood past.

Drive with a Dead Girl is a spectacular episode of Twin Peaks from Caleb Deschanel. Not only does it create a lot of intrigue into the mystery of Laura Palmer’s death but also play into the person who killed her and those who are suspected into her death. Even as it becomes clear that just as everyone thinks they’re closer to solving the mystery, there’s more bumps ahead. In the end, Drive with a Dead Girl is an exhilarating episode of Twin Peaks from Caleb Deschanel.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Fire Walk with Me - (The Missing Pieces)

Season 3: (Coming Soon)

© thevoid99 2015

The Music Videos of David Lynch

While David Lynch has garnered acclaim for his work in film, art, and television, he also dabbles in the world of music whether it’s through his own work as a musician or collaborating with other musicians. While shorts like Industrial Symphony No. 1, Industrial Soundscape, and Blue Green were examples of fusing music and film. Lynch would also dabble into the world of music videos throughout the entirety of his career as a filmmaker.

Sparks-I Predict


Sparks is probably a band that definitely has a devoted and loyal following despite the lack of mainstream attention they get. Yet, that didn’t stop Lynch from making a video for their song from their 1982 album Angst in My Pants as the single would be the band’s first top 100 U.S. single peaking at 60. Not surprisingly, it is a weird video but very comical as it has keyboardist Ron Mael doing a striptease while his brother in vocalist Russell would sing. It’s very offbeat as it was probably rarely shown on MTV at the time but it is such a cool video from a band that often defies convention and team up with a guy who also does the same.

Chris Isaak-Wicked Game


While audiences definitely know of the song from the video that was directed by Herb Ritts and featured supermodel Helena Christensen, there was another video that was made a year before that as it was for the film Wild at Heart. It’s a simple black-and-white video that features Isaak and his band playing the song inter-cut with images from the film. While it is a video sort of typical of music videos that promotes films, the fact that it’s directed by Lynch makes it more special as it retains the haunting elements of both the film and song.

Michael Jackson-Dangerous Teaser



You’re the King of Pop and you’re about to release a new album but you need someone to give the audience a taste of what is to come. Who do you turn to? Well, it is a surprising collaboration between the King of Pop and Lynch but it’s not a total surprising considering that Michael Jackson owns the bones of Joseph Merrick and Lynch did a film on Merrick. Though it contains bits of what is expected from Lynch in terms of surreal imagery and crazy stuff which makes sense considering that Jackson himself is an offbeat individual. Yet, the teasers provide not just something that plays into Jackson’s iconic status but also that sense of anticipation of what is to come from the King of Pop.

Angelo Badalamenti-A Real Indication


A Real Indication from David Lynch MC on Vimeo.


There’s no question that Lynch has a special relationship with composer Angelo Badalamenti as the two definitely rank up there in the list of great director-music composer collaborations. The two would also work together in music as the two formed a side project that was based on jazz with Badalamenti being the vocalist as Lynch would film the video on Hi-8 video. It has Badalamenti singing the song in the streets of Los Angeles as he walks around where it is quite comical but also filled with a sense of style.

X Japan-Longing


Given Lynch’s popularity in Japan due to his work in film and television, it was obvious that the filmmaker would get a chance to do things in the country such as collaborating with the metal band X Japan. Shot as a promotional clip rather than as a traditional music video for their 1996 album Dahlia, Lynch has the band’s vocalist/songwriter Yoshiki on Malibu beach in California. It’s a very dream-like video that plays into the sense of balladry in the song as Yoshiki sings to a beautiful woman.

BlueBob-Thank You Judge


In a collaborative music project with John Neff, BlueBob was a music collaboration that allowed the two to make experimental music that was different from what Lynch had done. For a video of a song they did for their 2001 self-titled release, the video features Mulholland Dr. star Naomi Watts and filmmaker Eli Roth as a couple while Lynch and Neff appears in the videos as characters of their own. It’s a comical video which has Neff sing a blues-based song while Lynch wears a mask as it relates to a man who loses everything in divorce court where Watts throws many of Neff’s shit and takes everything else he used to have. It’s a very fun video to watch despite the quality that is available.

Moby-Shot in the Back of the Head


One of the polarizing figures in electronic music, Moby has always been someone that is appreciative of music and artists that had come before him as he is also a fan of Lynch’s work. In this hand-drawn animated video created by Lynch, the instrumental plays into a man who is in love only to be taken down mysteriously. The video definitely adds a lot of drama to Moby’s instrumental track as the animation is just intoxicating in its mixture of drama and surrealism.

Interpol-I Touch a Red Button Man


In another animated-based video as it’s for the NYC post-punk band Interpol and their song Lights where it would play into Lynch’s love of surreal imagery. While it features a simple image of a man pushing a red button, it is one that is very strange as it is set to a black-and-white animated background with close-ups of the face and button. The images would intensify as does the song itself which only makes the film far more interesting.

Crazy Clown Time


Being a musician himself and making music that doesn’t fit into any kind of genre, Lynch would often dabble into all sorts of things whether it’s jazz, blues, rock, ambient, industrial, or avant-garde. From his debut album is a video for the title track as it’s a very strange and off-the-wall track filled with so many weird imagery. Featuring an assortment of characters, it’s a video where a bunch of teenagers and individuals are having a party as it’s gone wrong while Lynch is singing inside a TV. It’s definitely reminiscent of some of the music Lynch had dabble with in the past whether it’s from his work in films and television or what he’s done with other collaborators. It’s definitely a video that isn’t for everyone but then again, Lynch was never meant to be all things to everyone.

Duran Duran Unstaged


As part of YouTube’s Unstaged concert series that had acts be filmed by prominent filmmakers such as Terry Gilliam doing Arcade Fire or Todd Haynes doing My Morning Jacket. Lynch would get the chance to direct one of the greatest pop-rock acts ever in Duran Duran. Whereas most filmmakers try to infuse a bit of their own style while be true to the concert atmosphere, Lynch does something different as he would put in overlapping images to play with the music as it definitely makes the band’s performance stand out more against the other shows in the series. It is also a special that allows the band to be presented in a different light while retaining elements of what made them so special.


Nine Inch Nails-Came Back Haunted


The first single from the band’s 2013 album Hesitation Marks would mark a reunion between Lynch and Nine Inch Nails leader Trent Reznor as they had previously collaborated on the film soundtrack for Lost Highway which Reznor took part in assembling. For the video, which starts with a warning for those who suffer from epilepsy features Reznor singing the song in a room with many strobe lights and such to play into his own fear that would inter-cut with dark imagery reminiscent of Lynch. It is a video that is expected from both Lynch and NIN as it showcases both at their best.

In the era where music videos now lack a certain finesse and art form that made it interesting in the first place. It’s good to know that David Lynch has used it as a tool to not only display his own interpretation of the music of other people but also give them a chance to be exposed as well. Even if it’s his own music or whatever else he’s doing as Lynch proves he will do more than just make a simple music video which is why he’s so loved by musicians.

David Lynch Films: Eraserhead - The Elephant Man - Dune - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE - The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

The Short Films of David Lynch Part 2 (2002-2013)

Part 2 (2002-2013)

Darkened Room


Shot as an eight-minute experimental film with digital cameras that was seen on his website, the film plays into a young woman (Jordan Ladd) crying in a sofa as a Japanese woman (Etsuko Shikata) is in Tokyo talking about bananas. It’s a film that doesn’t have much plot as it would feature a brunette woman (Cerina Vincent) coming in to the room for the short’s second half. It’s a short that is quite dramatic but also has this sense of the unknown where it’s not trying to explain itself or be anything other than an experiment.

DumbLand


In a return of sorts to the world of animation, Lynch creates eight episodes where its entire series run at nearly 30 minutes which plays into the life of a dim-witted white-trash man named Randy. Set to crudely-drawn hand-made animation, the short series present Lynch at his most absurd in terms of just off-the-wall stupidity and low-brow humor. Yet, it is so goddamn funny into the situations Randy and his family go into involving a neighbor, a doctor, a treadmill, a clothesline, a man with a stick inside his mouth, Randy’s son having a toothache, his uncle Bob, and ants. All of which involves Randy reacting to these situations in the most idiotic way as it’s one of Lynch’s most entertaining shorts.

Out Yonder (Neighbor Boy)


In another experimental short of sorts that Lynch would make for his website, it has him and his son Austin sitting on lawn chairs observing a young neighbor who is creating a racket. It’s a short that has the two Lynches talking in squeaky voices about this gigantic neighbor who just wants milk as all sorts of craziness occurs. It’s a short that is quite simple yet it also shows Lynch’s knack for low-brow and offbeat humor as it showcases that he can find humor in not just the absurd but also in the surreal.

Rabbits


In a four-episode series where it’s shot entirely in a single room with only three characters, the short is a strange mix of horror, comedy, drama, and avant-garde where Scott Coffey, Naomi Watts, and Laura Elena Harring all play rabbits who converge in a single room in a wide static shot. Through some very strange dialogue, the short uses some laugh-tracks and other sound effects to play off the idea of a sitcom yet many of the things said are very dark. It’s definitely Lynch at his darkest and most surreal but certainly one of the most intriguing projects he ever did.

Boat

Made as part of the Dynamic No. 1 DVD film collection of shorts Lynch did for his website, the short is a simple story of a young woman talking about a boat as she goes on a trip with a man on this boat. Featuring the voice of Emily Stofle, the film features Lynch driving the boat himself as it has this air of hypnotic textures in the voiceover with Lynch providing pristine yet intoxicating images through the digital camera.

Bug Crawls


A digital video/animated short is a simple story that revolves around a bug crawling on top of a house just as a blimp passes by. It’s a simple 4 minute short that reveals what happens when a bug crawls over the house as it’s a short that harkens back to Lynch’s early work. Especially in what happens when a door is revealed as it’s a short with only two simple cuts and that is it making it one of Lynch’s finest works.

Lamp


Lamp - David Lynch from Félix Al-karaz Al-wazir on Vimeo.


The thirty-minute short film is essentially David Lynch making a lamp where he reveals not just his meticulous approach into making the appliance but also in the craft and dedication into making the stand with the help of a tree. It’s also a short that looks into the workshop Lynch has where he does things outside of films while he would film himself doing everything that is happening. Even as he would take breaks during the making of this lamp stand.

Industrial Soundscape


This ten-minute animated short is essentially a loop where machines do the same thing to create sound textures as it is shot in an entire static shot where the only thing that changes is the sound to play into this mix of ambient and industrial music. It’s Lynch using film to display his love for music as it play into not just his own dark sensibilities but also his willingness to try different things.

Intervalometer Experiments




A trio of short films where Lynch would shoot simple things through the digital camera showcases the filmmaker once again trying to do something simple and find something entrancing. Whether it’s a room, some steps, or the sunset, it’s all shot in time-lapse presentation which allows the ordinary to become extraordinary. Even as it plays into these simple events being told in the span of a day.

More Things That Happened


Featuring 75 minutes of material that didn’t make the final cut of INLAND EMPIRE, the short is essentially a collection of scenes and outtakes that is turned into a project that is entirely its own. The material included additional subplots that related to the film as it involve Laura Dern’s Sue character and her marriage as well as insights the lives of prostitutes in Hollywood, the work of the Phantom in the film, and other aspects that relate to Sue. The scenes are interesting while as a whole film, it’s an odd and dense one that won’t be for everyone. Yet, it is still one of the most fascinating things that Lynch has ever done.

Ballerina


The 12-minute short film is essentially a ballerina dancing to music though the soundtrack is largely dark-ambient music that is reminiscent of the music in many of Lynch’s films. Yet, it is presented with images that are very cloudy as it dissolves over the ballerina dancing where it has this dream-like quality to the short. It is one of Lynch’s most beautiful short films as well as one of his essentials that proves he can find beauty in dark places.

Absurda


A three-minute short made specifically for the anthology film Chacun son Cinema that celebrates the 60th Anniversary of the Cannes Film Festival, Lynch’s short segment plays into a group of teens going into a movie theater. An old man would present them the film that is filled with horrifying images that comes to life as it plays into not just Lynch’s own take on horror and surrealism. While it is a very short segment, it is definitely one Lynch’s best works.

Blue Green


Made as a music video collaboration with David Vegara, the short is a simple yet offbeat short that has a child skipping around a factory while a young woman wanders around in the street and buildings. It is a short that isn’t trying to say anything yet doesn’t need any kind of explanation as it’s just Lynch being himself and having fun making a short inside a factory.

Dream #7


This 10-15 second short plays into not just Lynch’s own ideas of surrealism but also in the fact that he is willing to strange things no matter how long or how short the film is. A digital animation short involves an egg and an eye and what does it all mean? Well, does it need to mean anything? Still, it is one inventive short.

Lady Blue Shanghai


A 15-minute short made for Dior which stars Marion Cotillard as well as Emily Stofle, Gong Tao, Cheng Hong, Lu Yong, and Nie Fei. It’s a short that revolves a woman who returns to her hotel in Shanghai where she finds a mysterious blue purse not knowing where it came from as she starts to see things believing that she’s been to Shanghai before. Shot in digital video, the short has this air of beauty that Lynch is often not known for yet he manages to do so much with the film as well as flesh out a mesmerizing performance from Marion Cotillard. The short itself is truly one of Lynch’s best works.

The 3 Rs


This 65-second short that Lynch made for the 2011 Venice Film Festival is a simple short which revolves around surreal images shot mostly in black-and-white where Lynch has a man holding two rocks though people are really wondering how many rocks he’s really holding. It’s definitely in line as an avant-garde short but it offers so much more where it ranges from being scary to being comical.

Idem Paris


The 8-minute documentary short has Lynch go into the Idem Paris fine art studio print which reveals the art in making lithographic processing. Shot on high-definition digital video in black-and-white, the film is essentially a documentary with no dialogue or anything strange but rather something very straightforward about what these people do at Idem Paris. Even as these are people who work very hard at what they do and be dedicated to an art form that doesn’t require new technology as they often try to fix or refine the machines they’re using. It’s definitely one of Lynch’s best films that showcases his love for the world of art.

No matter what form David Lynch is doing, his work in short films definitely adds to his already legendary status as an artist. Whether it’s in musical performances, commercials, animation, or just something straightforward. Lynch always find something to say no matter how small or how short these films are as it is an indication of his power as a filmmaker. Even if it plays into the absurd, the fear, or just being absolutely comical as it shows why people love David Lynch.

David Lynch Films: Eraserhead - The Elephant Man - Dune - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE - The Short Films of David Lynch Pt. 1 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

Twin Peaks: Fire Walk with Me

Directed and sound designed by David Lynch and screenplay by Lynch and Robert Engels that is based on the TV series by Lynch and Mark Frost, Twin Peaks: Fire Walk with Me revolves around the final days of Laura Palmer before her murder as well as the events before and after the events of the TV series. The film is a prequel/sequel of sorts to the series as it relates to the mysterious murders of a young woman and another young woman who would be connected to the murder as aspects of her life are unveiled. Starring Kyle MacLachlan, Sheryl Lee, Moira Kelly, Chris Isaak, Harry Dean Stanton, Ray Wise, and Keifer Sutherland. Twin Peaks: Fire Walk with Me is a gripping yet mesmerizing film from David Lynch.

The film explores not just the final days of the life of Laura Palmer (Sheryl Lee) who was a major subject in the TV series but also in the events that preceded her murder as it relates to the death of a young woman named Teresa Banks (Pamela Gidley). It’s a film that isn’t just about a young woman falling apart in her final days but also dealing with the revelations about the mysterious figure that had been stalking her as he would eventually become her killer. The film’s screenplay by David Lynch and Robert Engels does have an odd structure in terms of its narrative. Notably in its first act as it relates to Banks’ murder where Special Agent Chester Desmond (Chris Isaak) investigates with Sam Stanley (Kiefer Sutherland) as they find some things that relate to the murder and then something happens that stops the case that includes the sudden re-appearance and disappearance of the FBI agent Phillip Jeffries (David Bowie).

The film’s second and third act plays into Laura Palmer’s final days as she copes with being in a multitude of relationships with other men, a drug problem, and the mysterious appearance of a man named Bob (Frank Silva) who had been stalking her. Then there’s her father Leland (Ray Wise) whom she believes might actually be Bob as well where there are some revelations about his own past and such. Still, it raises questions about not just his relationship with Laura but also other things about him that definitely becomes puzzling. Even as there’s moments in Laura’s own world where she sees things as it relates to characters whom she had never met nor were part of the series in the beginning start to appear for some strange reasons. Those are among some of the flaws in the script as well as these surreal moments about this mysterious world that is the Black Lodge where Bob supposedly lives in.

Lynch’s direction is quite simple at times for the way he shoots the many locations in the Pacific Northwest while he would add things that are surreal such as Desmond and Stanley given a message from a mute woman in a red dress. It plays into this strange mix of Americana and European surrealism where Lynch does create some simple compositions and such in his close-ups, medium shots, and wide shots yet will find a way to play with these elements. The film’s first act which revolves around the Banks case where Special Agent Desmond is leading the investigation play into a world that is corrupt as Desmond and Stanley were forced to do things by themselves. 

 By the time the story moves to the second act at the small town of Twin Peaks, it plays into the town and what it was like during Laura Palmer’s final days. Still, there are odd moments as it relates to not just some of the characters from the TV show but also the ones who either were on the show but don’t appear in the film or those who come into the show very late into the series. The direction would feature these point-of-view shots as well as moments that add to the surrealism that includes key moments in the third act that plays into Laura’s final day including her death. Even as it relates to those involved and what could’ve been done to save her. Overall, Lynch creates an eerie yet intoxicating film about a young woman’s final days in a small town.

Cinematographer Ron Garcia does brilliant work with the film‘s cinematography with its usage of lights including blue lights as well as some naturalistic images for some of the scenes set in the day. Editor Mary Sweeney does excellent work with the editing as it play into the drama and suspense while creating some cutting styles and montages that are bizarre which delve into the moments that are unexplained. Production/costume designer Patricia Norris and set decorator Leslie Morales do fantastic work with the set design including the Palmer home, the Roadhouse bar, and the mysterious red room where the Man from Another World is from while the costumes are quite stylish to play to what Laura wore in her bawdy moments as well as the suits of the FBI agents.

Sound editor Douglas Murray and sound designer David Lynch do amazing work with the sound to play into some of the sound effects that occur in the film as well as in the atmosphere in some of the events that go on including the scenes where Bob would be around lurking towards Laura. The film’s music by Angelo Badalamenti is incredible as it’s the highlight of the film with its mixture of orchestral, blues, dream-pop, and ambient music that features variations of themes from the TV show as well as some somber themes that play into the drama and tragedy of the film as the music includes contributions by Julee Cruise who appears as the singer at the Roadhouse bar.

The casting by Johanna Ray is wonderful as it features small appearances from TV cast recurring/regular characters like Catherine Coulson as the Log Lady, Al Strobel as the one-armed man Philip Gerard, Lenny von Dohlen as the agoraphobic Harold Smith who would hide Laura’s diary, Peggy Lipton as the diner owner Norma Jennings, Madchen Amick as the diner waitress Shelly Johnson, Heather Graham as Annie Blackburn, Grace Zabriskie as Laura’s mother Sarah, Miguel Ferrer as Agent Rosenfeld, David Lynch as FBI regional superior Gordon Cole, Gary Hershberger as Mike Nelson, Frances Bay as the mysterious Mrs. Tremond, Walter Olkewicz as the Roadhouse bartender Jacques Renault, Michael J. Anderson as the Man from Another Place, Jonathan J. Leppell as Mrs. Tremond’s grandson, Eric Da Rae as Leo Johnson, and Phoebe Augustine as Ronette Pulaski as the young woman who would walk out of the event traumatized and lost.

Other notable small roles include Kimberly Ann Cole as the mute woman in red, Rick Aiello as deputy Howard who tries to antagonize Special Agent Desmond, Gary Bullock as Sheriff Cable, Jurgen Prochnow as a mysterious woodsman at the Black Lodge, Pamela Gidley as Teresa Banks, and Harry Dean Stanton in a terrific performance as a trailer park landlord who is trying to make sense about what happened. David Bowie is superb in a small role as the FBI agent Phillip Jeffries who had disappeared two years earlier as he suddenly appears talking about the Black Lodge. Kiefer Sutherland is excellent as Agent Sam Stanley as a man who has quirks that allow him to see things where would make a chilling discovery as it relates to Teresa Banks’ body. Frank Silva is fantastic as Bob as the evil killer who may or may not be real as he stalks Laura as he might also be involved in Banks’ death. James Marshall and Dana Ashbrook are brilliant in their respective roles as James Hurley and Bobby Briggs as Laura’s two lovers with Marshall as the sensitive Hurley and Ashbrook as the more troublesome Briggs who both cope with Laura’s offbeat behavior.

Kyle MacLachlan is amazing as Special Agent Dale Cooper who deals with the chaos over the Banks case as he waits for what will happen next as he would later become a key figure in the Palmer case. Moira Kelly is pretty good as Donna Hayward as Laura’s best friend who tries to deal with Laura’s behavior as Kelly brings a more low-key approach to the character that is played by Lara Flynn Boyle in the TV show. Ray Wise is remarkable as Leland Palmer as Laura’s father who hides a dark secret as it relates to a lot in what is happening as it’s an ambiguous but underwritten role that loses some of its intrigue. Finally, there’s Sheryl Lee in an incredible performance as Laura Palmer as this troubled young woman who deals with a severe drug problem as well as juggling relationships and a stalker as Lee brings a lot of weight and anguish to the performance of a young woman who is living on the edge.

Twin Peaks: Fire Walk with Me is an excellent though flawed film from David Lynch. While it does sort of deviate from elements of the TV series while focusing more on the events that related to Laura Palmer’s final days. As a standalone film, it is quite exhilarating and strange that manages to be out there but also riveting. For those who are fan of the TV series, the film serves as a fitting companion piece despite some of its flaws. In the end, Twin Peaks: Fire Walk with Me is a brilliant film from David Lynch.

David Lynch Films: Eraserhead - The Elephant Man - Dune - Blue Velvet - Wild at Heart - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE - The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

(The Missing Pieces)

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

Twin Peaks: Episode 14-Lonely Souls

Directed by David Lynch and written by Mark Frost, the fifteenth episode of Twin Peaks entitled Lonely Souls revolves around the break that Special Agent Cooper and Sheriff Truman have been looking for as it relates to who might’ve killed Laura Palmer. While Cooper and Truman take the possessed Philip Gerard to the hotel, it is clear that the suspect is definitely near as Benjamin Horne becomes the major suspect after being asked by Audrey about One-Eyed Jack’s and secrets he had about Laura. Deputy Hawk would go to Harold Smith’s apartment to retrieve Laura’s diary where a discovery is made about Smith and the diary where Cooper looks into its contents where he and Truman conclude that Benjamin Horne might have some involvement in Laura’s death.

It’s an episode where the long-awaited outcome of who might’ve killed Laura Palmer finally emerges but also leaves a lot of questions into what is going on. While Benjamin Horne is a definite suspect for the fact that he had Laura work in his store and got her involved at One-Eyed Jack’s. His confession to Audrey reveal that as bad as a man that he is, he didn’t kill Laura as credit should go to Richard Beymer for unveiling some of Horne’s vulnerability though the scene where’s arrested during a meeting with Tojamura reveal that he is a coward. It’s among some of the intriguing aspects of the episode as it would continue for its multi-layered climax where Cooper, Truman, and the Log Lady go to the Roadhouse where Cooper would have a vision.

Also at the Roadhouse are James Hurley and Donna Hayward as they both deal with some of the drawbacks over what happened at Smith’s home as they learn that Maddy Ferguson is going on home. Bobby Briggs meanwhile, makes a discovery in a boot that Leo Johnson owned in the hopes that it could get him and Shelly out of the financial dire straits they’re in. Especially as Shelly is forced to resign from her work as a waitress for the Double R Diner to take care of Leo full time. While it’s an episode that is quite dramatic and ends some storylines while opening new ones. There are elements of humor where Norma Jennings gets a first-hand look at the new Nadine Hurley who still think she’s in high school and has super-strength as Ed is still baffled. Another funny moments play into Leo Johnson’s outbursts in his comatose state that provide some scares for Bobby and Shelly but it is among these quirks that make it so irresistible to watch. Even as Tojamura makes an appearance to meet Pete Martell where he reveals his true identity.

Yet, it’s the climax where many of the characters converge at the Roadhouse where Julee Cruise performs two songs where a major event is revealed into not just the character BOB but also who is Laura’s killer as seen by Maddy Ferguson. The reveal is definitely an odd one as it only raises more questions than answers as well as some of the mysterious elements that relate to the contents in Laura’s diary with claims of molestation and abuse.

Lonely Souls is a phenomenal episode of Twin Peaks from David Lynch and writer Mark Frost. It’s an episode that closes some things but also opens to some newer questions about Laura Palmer’s death and the revelations to who killed her. Featuring some top-notch performances from Richard Beymer, Sheryl Lee, and Kyle MacLachlan, the episode isn’t just one of the show’s key episodes but also one that would mark some serious changes to the series. In the end, Lonely Souls is a remarkable episode of Twin Peaks from David Lynch.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Dune (1984 film)

Based on the novel by Frank Herbert, Dune is the story of a conflict between rival noble families in a futuristic planet over the control of that planet because of a mysterious melange that is the most valuable commodity in the universe. Written for the screen and directed by David Lynch, the film is an ambitious sci-fi story that plays into a young man trying to do what is right for his family and the universe as he also deals with evil forces driven by greed. Starring Kyle MacLachlan, Francesca Annis, Leonardo Cimino, Brad Dourif, Jose Ferrer, Linda Hunt, Freddie Jones, Richard Jordan, Virginia Madsen, Silvana Mangano, Everett McGill, Kenneth McMillan, Jack Nance, Sian Phillips, Jurgen Prochnow, Paul Smith, Patrick Stewart, Sting, Dean Stockwell, Max von Sydow, Alicia Witt, and Sean Young. Dune is an extravagant yet messy and drab film from David Lynch.

Set in a futuristic universe, the film revolves around a conflict over control of a planet that contains the most valuable commodity in the universe known as the spice. On the one side, you have the most powerful authority figure in the universe in Emperor Shaddam IV (Jose Ferrer) who has asked Baron Vladimir Harkonnen (Kenneth McMillan) of the planet Giedi Prime to handle the situation. On the other side is the House of Atreides led by Duke Leto Atreides (Jurgen Prochnow) who has become popular in his stance to do good with the world. Yet, the Emperor realizes through the guild that it is Atreides’ son Paul (Kyle MacLachlan) that is the threat due to his powers as it is believed that he is the prophet that can take control of the planet Arrakis and the spice itself leading to a conflict that involved assassinations and other devious things. These events would force Paul to lead a rebellion for the universe and give the people in Arrakis hope.

While it’s a story that is interesting, it is one that feels like there is more to say in this condensed version of a book that has to be complex but also very dense. Notably as David Lynch’s script tries to create some exposition into what is going on and what are the motivations of these characters. While Paul Atreides ponders his role as he wonders if he is everything this prophecy is, he is just a young man that is loyal to his family while is aware that he does have powers that very few possess. The script does acknowledge Paul as a threat to the Harkonnens and their desire to control the spice. They’re treated more as just sadistic buffoons as the Baron is a big fatass that has devices that makes him float in the air. There are some spiritual elements in the story that seems to be hinted but either it got condensed or simplified as it gets many of the motivations of the characters lost.

Lynch’s direction is definitely vast and filled with elements of surreal imagery as well as some extravagant set pieces that are interesting to watch. Yet, it’s not enough to keep things engaging as some of the visual effects come off as silly as well as moments that are overwhelming. While Lynch does create some unique compositions and some inspired usage of the camera angles, it is an attempt to try and keep much of the action and sci-fi elements engaging. Unfortunately, many of the complexities in the film do keep the film from moving along where it would plod along as there is so much happening as well as so many characters to keep track of. Though Lynch’s attempts to get the film’s climax to be exhilarating, it sort of falls flat where it is clear that there are these temporary alliances and such where a few characters would often switch sides and would pay for their movements. At the same time, there’s some moments that are unintentionally comical such as the character of the Baron’s nephew Feyd-Rautha who comes across as a nitwit with a thirst for blood. Overall, Lynch creates a very dull and often confusing film about a conflict over some commodity in the universe.

Cinematographer Freddie Francis does excellent work with the film‘s cinematography with some of the windy and dusty exteriors in the Mexican deserts as parts of the planet Arrakis to the lighting in some of the interior settings. Editor Antony Gibbs does nice work in the editing with its usage of dissolves for the dream-like sequences as well as some rhythmic cuts for the action. Production designer Anthony Masters, with set decorator Giorgio Desideri and supervising art director Pier Luigi Basile, does brilliant work with the set design from the look of the spaceships to the fortress in Arrakis in its interiors along with the look of the Emperor‘s palace. Costume designer Bob Ringwood does wonderful work with the costumes as it plays to some of the extravagance of the production as well as some of the darkness of the Harkonnens.

Special makeup effects artists Etsuko Egawa and Christopher Tucker do terrific work with the makeup in the look of the Baron as well as the look of the Bene Gesserit priestess that Paul‘s mother was a part of. Creature designer Carlo Rambaldi does fantastic work with the design of the sandworms as well as other creatures in the universe. Sound designer Alan Splet does superb work with the sound in creating some unique sound effects as well as textures to play into the world of the universe. The film’s music by Toto is amazing for some of the themes that are created that mixes rock with symphonic arrangements and ambient textures that includes contributions by Brian Eno who would create a thematic piece involving the prophecy as it‘s one of the film‘s highlights.

The casting by Jane Jenkins is good despite the fact that the great collection of actors assembled for the film don’t really get much to do. Among the individuals who appear in small roles that seem to suffer by their lack of screen time include Paul Smith as one of the Baron’s nephews in the Beast Rabban, Jack Nance as the Baron’s assistant Captain Iakin Nefud, Leonard Cimino as the Baron’s doctor, Brad Dourif as the devilish doctor Piter De Vries, Linda Hunt as a Bene Gesserit hostess in Shadout Mapes, Alicia Witt as Paul’s young sister Alia, Silvana Mangano as an elder Bene Gesserit who would transfer her powers to Lady Jessica, Virginia Madsen as Princess Irulan, and Max von Sydow as Arrakis engineer Dr. Kynes as they have some moments that are good but not enough to make them standout. From the House of Atreides, there’s some notable performances from Freddie Jones as Paul’s mentor Thufir Hawat, Richard Jordan as Paul’s friend Duncan, Dean Stockwell as Duke Leto’s advisor Dr. Yueh Wellington, and Patrick Stewart as a defense teacher of Paul in Gurney Halleck who would later join Paul in the rebellion.

Everett McGill is terrific as an Arrakis rebel leader named Stilgar who takes Paul and Lady Jessica into his secret base where he would become Paul’s most trusted ally. Sean Young is OK as an Arrakis rebel named Chani whom Paul would fall for as she would help him in the rebellion as she isn’t given much to do. Francesca Annis is wonderful as Paul’s mother Lady Jessica as Duke Leto’s concubine who is part of the Bene Gesserit sisterhood as she would aid Paul in becoming a leader. Jurgen Prochnow is excellent as Duke Leto Atreides as a leader who represents the good of the universe though there’s aspects of his role this severely underwritten. Gordon “Sting” Sumner is horrible as the Baron’s sadistic nephew Feyd-Rautha as he just looks like a fucking idiot in the film where he would wear this metallic underwear that makes him look dumber while he spends half the time overacting throughout the film.

Sian Phillips is alright as the Reverend Mother Gaius Helen Mohiam as the Bene Gesserit leader who realizes that Paul is the prophet as she aligns herself with the Emperor in control of the universe. Kenneth McMillan is lame as Baron Harkonnen as this antagonist who just craves power as he floats around the air as it’s a very over-the-top and idiotic performance that never takes itself seriously. Jose Ferrer is OK as Emperor Shaddam IV as the leader of the universe though it looks like he’s sleepwalking through the film as he never does anything to make the character memorable. Kyle MacLachlan is good as Paul Atreides as a young man who learns he has the power to do something as MacLachlan tries to bring in that sense of gravitas but is hampered by the weakness of the script.

Despite some of its technical brilliance, Dune is a terrible film from David Lynch. It’s a film, in its shortened theatrical cut, that tries so hard to be something big but manages to falter with its lackluster script and attempts to be something more than a typical sci-fi film. Especially for a story that is considered very challenging as Lynch and producer Dino de Laurentiis were unable to rise to the occasion. In the end, Dune is just a dull and un-engaging film from David Lynch.

Related: Jodorowsky's Dune - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah)

David Lynch Films: Eraserhead - The Elephant Man - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE

The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015