Inland Empire (film)
| Movie | |
|---|---|
| German title | Inland Empire |
| Original title | Inland Empire |
| Country of production | France , Poland , United States |
| original language | English |
| Publishing year | 2006 |
| length | 180 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | David Lynch |
| script | David Lynch |
| production | David Lynch, Mary Sweeney , Jeremy Alter, Laura Dern |
| music | David Lynch |
| camera | David Lynch |
| cut | David Lynch |
| occupation | |
| |
Inland Empire (Alternative title: Inland Empire - A Woman in Trouble ) is an American feature film by director David Lynch from the year 2006 with Laura Dern in the lead role. The film is a Studio Canal production and is distributed by Canal + . In the USA, Lynch is distributing the film to selected cinemas through his own company Absurda ; in Germany, Concorde Film has taken over the distribution of the film. The world premiere took place on September 6, 2006 at the Venice Film Festival . In the USA, the film premiered at the New York Film Festival on September 29, 2006 and was released there in December 2006. Inland Empire started in Germany on April 26, 2007.
Content and action details
introduction
The film begins with a look at a stylus in a record groove and with a woman who sings an old Polish folk song: “A little girl wanted to play, but she was lost as if she were only half born…”. Then you see a couple with their heads defaced while they talk about sex. This is followed by a look into a living room in which there are three people with rabbit heads. The three rabbits either sit motionless on a sofa or iron. These scenes are taken from the short film series Rabbits , which David Lynch published on his website in 2002.
The film in the film
Then you see the main character of the film, Nikki Grace, who is about to start an affair with a fellow actor. Nikki was a renowned Hollywood actress years ago who became wealthy by marrying a Polish man. The couple lives in a stately villa with servants. It begins a story of making a major movie . Nikki has the chance to make a big screen comeback in On High in Blue Tomorrows . Soon afterwards it turns out that the film is apparently an unauthorized Hollywood remake of the German film 4-7 (pronounced "four seven"). The director claims that the producers initially left him unaware of this too. 4-7 was never finished because the main cast died before the film was finished.
This time, too, the shooting becomes more mysterious with each day of shooting; Reality and film fiction begin to overlap for Nikki - also because Nikki and Sue have the same husband named Piotrek Krol (Polish: Królik - rabbit). Even time and space to move up for it by being on Susan "Sue" Blue, her former self, true. Do the deceased actors from the earlier film take tribute? The three rabbits appear several times and utter all sorts of puzzling utterances, while canned laughter is played from the off- screen . Again and again, Nikki is horrified to find that she is in the action, although she should have long been back in her personal reality. The film shows Nikki's way through a number of corridors, her gaze into windows and rooms (including the “Red Lodge” typical of lynch films, in which nothing else happens than panicked people in their eyes).
On her way through the Inland Empire labyrinth, Nikki sees young naked girls who advise her to burn a hole in silk with a cigar in order to look through the hole into the future, she meets a gramophone phantom and later its sister , has a mysterious neighbor who stands unannounced in Nikki's apartment to warn her not to accept the new role and who also gives her up on solving parables . On their way, Nikki or Susan sees the story of a prostitute dealer ring that originated in Eastern Europe and is run by circus clowns, discovers the circus ("Cyrk Zalewsky") in a factory hall and realizes that 4-7 was originally filmed in Łódź / Poland had been. Likewise, 47 is the number of the hotel room where the previous murders took place.
As the film progresses, Nikki senses that her search for her own identity in the individual film worlds is a deep confrontation with her own fears. This is the central theme of the film: why are people afraid , and of what. Nikki only holds the individual parts of the film together, once playing the lady from high society and then a prostitute again. The key scene for Nikki is a passage on the Walk of Fame in Hollywood in which a screwdriver is stabbed into her (or Sue?). She bleeds to death helplessly among the homeless until a camera becomes visible that reveals the whole thing as a film scene. However, Nikki still seems trapped in the film world even after filming is over.
Finale
At the end of the film Monuments sing the song prostitute Sinnerman by Nina Simone , and a man with a red wool cap sawed a log of what associations with the Lynch movies Twin Peaks and Blue Velvet permits. Lynch himself stated that the scene should radiate "peace and quiet". In the last scene Nikki is sitting relaxed with Nastassja Kinski on a sofa at the other end of the room, where she was often seen in fear during the film, and she has her trauma (manifested in Lynch's film song Ghost of Love with the memorable text " Strange what love does… “) overcome: A woman in trouble was saved by being loved after all.
backgrounds
action
An important aspect of the plot of the film is that it is a recurring event centered around what happened during the making of the original film, in which both of the main characters were killed before the film could be completed. A continuous plot is transported through different time levels. Lynch said in an interview with "Spiegel Online" that Inland Empire should be seen as a counterpart to Mulholland Drive (2001). Some critics even go so far as to see Inland Empire as the conclusion of a lynch trilogy that he began with Lost Highway (1996) and continued with Mulholland Drive .
The countless interlinked storylines and plot changes leave room for extensive interpretations over the 180 minutes. Lynch himself declared at the premiere of his film that he could not say what Inland Empire was about. Every viewer has to find out for himself. Inland Empire is a look through “the blurry panes of the human ego onto dark abysses”.
Similar in an interview with “ Die Welt ”: “I know what 'Inland Empire' means to me. But I'm not going to reveal that [...] The audience would have to trust their intuition more. Because basically they know a lot more than they think, but they don't admit it to themselves. "
title
The film title refers to a stretch of southern California , which runs between Los Angeles, San Diego and Orange County. Lynch said in a "Spiegel Online" interview that leading actress Laura Dern brought him to this title when she visited him one day and informed him that she had moved from the Inland Empire east of Los Angeles to his neighborhood. Lynch has determined that his Inland Empire should always be written in capital letters, but has since withdrawn his statement that he had determined this for legal reasons. David Lynch suggested in Venice that Inland Empire could be seen in the broadest sense as a synonym for the main film theme, the panic and fear that took hold of the human body. According to Worthmann, the Inland Empire is, in the figurative sense, human consciousness as “the universe that we all have in our brains” (director, moviegoers, as well as characters). Hollywood, a popular setting for lynch films, can also be seen as an “inland empire”.
music
When asked about the film music and its effect on both the film's plot and the viewer, Lynch mentioned the film Koyaanisqatsi by Godfrey Reggio and stated that at Inland Empire he wanted to achieve a similar connection between images and music. Little Eva's Locomotion sounds suddenly in a surreal dance interlude as the strongest optimistic counterpoint to the otherwise dark scenes of the film. The dance to the music is danced exclusively by young women who otherwise appear as prostitutes on other levels of reality in the film, predominantly dipped in brown and gray. Little Eva's simple but positively energetic song Locomotion is given an outstanding status as a symbol of a better world, as it may have existed in the USA in the 1960s and reappears at the end of the film, thanks to the contrast to the rather dreary reality of Inland Empire . Compositions by Penderecki and Lutosławski were also used.
Reactions and criticism
Already at the Venice Biennale , where the film with its “at least three realities ” ( Worthmann ) premiered in September 2006, it triggered different reactions. Both critics and audience agreed on Laura Dern's outstanding acting performance .
“David Lynch fans out his entire oeuvre once again and deals with violence and issues inherent in Hollywood. In the end, however, he does not find any binding unity; his film appears as an intellectual game that doesn't take itself very seriously. "
“The nightmare goes on and on - for three hours, in fact. [...] I have often whimpered with my buttocks squeezed together with fear of what would happen next [...] a gigantic anarchic spectacle solely of disorientation "
“[Lynch] makes diverse and remarkable films that penetrate your head and are hardly ever to be shaken off. […] Lynch's films touch something original. [...] This is not for the casual viewer. "
“It's a story within a story within a story within a story that is more or less the story that preceded the first story. […] But that says nothing more than the claim that a Chopin étude follows a musical logic in order to get to exactly where the musical logic no longer counts. […] Laura Dern is the perfect ' Lynchian woman '; it is [...] the willingness to be the subject and the object of the fairy tale of exploration at the same time. Accomplice in a research trip and victim alike. Lynch thanks him with a tenderness that he has never shown to any of his female characters "
“'Inland' looks as if Lynch only supplies nouns and we viewers are asked to put them into a meaningful context with the help of our own verbs and adjectives [...] 'Inland' most closely resembles the écriture automatique of the Surrealists [...] none Movie you love. That you admire, maybe, but above all fight with. "
“The seventh and highest level of consciousness within ' Transcendental Meditation ' is the so-called unity consciousness . Whoever advances to this stage experiences all forms of life as appearances of the same cosmic being; the boundaries between outer and inner reality dissolve; one's self is reflected in the things of the world. [...] If everything is connected and all the world fits into one head, then the director can also make big leaps with his material, make huge arcs, send fragments into various orbits and quietly trust that the inner, the universal cohesion but somehow remains. "
“At first you hesitate to send someone into this film. It's monstrous, pathetic, overloaded, funny, brutal. He has no sympathy for the spectators, no accommodation. "
“David Lynch has fun with his new DV camera and his old friend Laura Dern [...] The supposedly existentially terrifying thing can no longer be distinguished from a laconic agreement with the complete ridiculousness of this idea. [...] Unfortunately not overly funny either. "
"[A] three-hour beast from a movie"
The time was not completely enthusiastic about the new DV optics: "Nevertheless, you cry a few tears after Lynch's celluloid images and their irresistible magnetic glow."
Evolver is very negative : “No, these are not real rabbits at all, but people in rabbit costumes. [...] The fact that 'Inland Empire' suffers from a tad too much Arthaus can be understood as a viewer after just three minutes. But unfortunately you still have [...] three hours ahead of you ” .
Emergence
Inland Empire was shot by Lynch as a so-called "patchwork film"; H. without a script, whereby the actors only received the scene to be shot from the director, which he had written directly before, so that they were not aware of the plot of the film or the connections with other scenes. It was only during the course of filming that Lynch began to develop a plot from the scenes. David Lynch said that with Inland Empire he wanted to show a way how "big pictures" could be shot in the future. In an interview with the Süddeutsche Zeitung , Lynch said: “The light in LA is so inspiring! Back then, the light lured everyone from the south to LA! When I was talking to Laura Dern about a new film, she told me that her husband, Ben Harper, came from the 'Inland Empire'. I don't know when, but I said: This is the title for my next film, which I didn't know about at the time. And then: My parents have a mountain hut in Montana. One day my brother was cleaning there and found an old drawing book behind the closet. It was my old drawing book from when I was five years old. The first picture is a landscape view of Spokane, underneath it says: 'Inland Empire'. So I thought I was on the right track. "
The shooting took place in Łódź , Poland and in Los Angeles , California , USA . In Venice, Lynch thanked the European supporters of his film and said that nowhere else than in Europe was it possible for him to make films exactly as he wanted them to be. The filming took more than two years to complete, which means that it was shot "on the side".
Georg Seeßlen even states in " Epd Film " 4/2007 p. 23 that David Lynch financed Inland Empire "himself, with a little help from Canal Plus ."
The film was shot exclusively on digital video (DV) with DSR-PD150 cameras from Sony , which are also affordable for home use .
Others
In the German theatrical version, all the dialogues in the original version, which the director deliberately left in Polish and not subtitled, were translated into German.
On November 15, 2006, David Lynch was sitting next to a real live cow on Sunset Blvd. with some traffic disruption. in order to advertise a possible Oscar nomination for Laura Dern and her " incredible acting skills". The action was not taken into account.
Awards
- The Film Festival of Venice in 2006 was David Lynch the " Future Film Festival Digital Award ".
- The film won a special award at the 2007 Independent Spirit Awards .
- The Wiesbaden film evaluation agency awarded the “rating particularly valuable”.
literature
- Monta Alaine: Surreal storytelling by David Lynch. Narratology, Narratography and Intermediality in Lost Highway, Mulholland Drive and Inland Empire . ibidem, Stuttgart 2015. ISBN 978-3-8382-0583-0 .
- Ebrahim Barzegar: Labyrinths and Illusions in David Lynch's Mulholland Drive and Inland Empire . In: Cinej Cinema Journal 5/2 (2016), pp. 169–188.
- Christiane Mathes: Intensities in collision. The body as an inscription surface for polymorphic identities in David Lynch's Inland Empire . In: Navigationen 12/1 (2012), pp. 106–116.
- Martha P. Nochimson: Inland Empire . In: Film Quarterly 60/4 (2007), pp. 10-14.
- Oliver Schmidt (Ed.):. Life in disturbed worlds. The cinematic space in David Lynch's Eraserhead, Blue Velvet, Lost Highway and Inland Empire. Ibidem-Verlag, Stuttgart 2008, ISBN 978-3-89821-806-1 .
- Kerstin Stutterheim (ed.): Studies on postmodern cinema. David Lynch's Inland Empire and Bennett Miller's Capote . Frankfurt am Main u. a. 2011. ISBN 978-3-653-99992-1 .
Web links
- Inland Empire in the Internet Movie Database (English)
- Inland Empire at rotten tomatoes (English)
- Inland Empire at Metacritic (English)
- Press review with links to further reviews at angelaufen.de
- Stéphane Delorme: Inland Empire by David Lynch - A Married Woman in Cahiers du cinéma , February 2007, No. 620, pp. 10-12 (English)
- Kate Rennebohm: Look At Me and Tell Me If You've Known Me Before: Exploring Affect After Inland Empire in Synoptique 11, 2008 (English)
- Bergande, W .: "The family myth and its accomplices in David Lynch's INLAND EMPIRE" (PDF; 4.1 MB), in: RISS - Journal for Psychoanalysis Freud-Lacan No. 72/73 (2009)
Individual evidence
- ↑ a b Lars-Olav Beier and Andreas Borcholte: US director David Lynch - “In Hollywood there is anger” in Spiegel Online on April 17, 2007, accessed on April 24, 2007.
- ↑ Rüdiger Sturm: David Lynch - "Spielberg is luckier than me". In: The world . April 23, 2007, accessed April 15, 2008 .
- ↑ a b c d e Merten Worthmann: Traces and trap doors in Die Zeit 17/2007 p. 53.
- ↑ Inland Empire. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ^ Peter Bradshaw: Inland Empire. In: The Guardian . March 9, 2007, accessed on May 14, 2008 (English): “The nightmare goes on and on - for three hours, in fact. [...] I was often buttock-clenchingly afraid of what was going to happen next and squeaking with anxiety [...] a gigantic spectacle of anarchy with no purpose other than to disorientate "
- ↑ Drew McWeeny: Moriarty Visits David Lynch's INLAND EMPIRE And Lives To Tell About It !! In: Ain't It Cool News. October 29, 2006, accessed on June 3, 2008 (English, parts of the film were shot in his apartment.): “[…] He makes diverse and remarkable films that get inside your head and never really shake out. […] Lynch's films tap into something primal. [...] This is not a movie for the casual viewer "
- ↑ Georg Seeßlen : From art to cinema and back. (No longer available online.) In: epd Film . April 2007, archived from the original on February 24, 2008 ; Retrieved January 11, 2009 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Hanns-Georg Rodek : In the brain of David Lynch. In: The world . April 25, 2007, accessed January 11, 2009 .
- ↑ cf. Manohla Dargis : Inland Empire (2006). In: The New York Times . December 6, 2006, accessed April 15, 2008 .
- ^ Fritz Göttler: Inland Empire. (No longer available online.) In: Süddeutsche Zeitung . April 25, 2007, archived from the original on July 4, 2008 ; accessed on January 11, 2009 (from Filmzentrale). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Diedrich Diederichsen: Inland Empire. In: the daily newspaper . April 25, 2007, accessed on January 11, 2009 (from Filmzentrale).
- ↑ Ed Gonzales: Inland Empire. (No longer available online.) In: Slant Magazine. 2006, archived from the original on April 12, 2008 ; accessed on April 15, 2008 (English): "[...] three-hour beast of a film [...]" Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Andreas Winterer: divaD egnal woskaerF. In: Evolver. April 2, 2007, accessed February 28, 2009 .
- ^ The Bagger: Holy Cow, for Your Consideration. In: The New York Times . November 20, 2006, accessed February 18, 2013 .
- ↑ Filmbewertungsstelle Wiesbaden ( Memento of the original from September 28, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , Online resource
