Press Review

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Ludolynch
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Press Review

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Did You Like That Song ? (Keith Uhlich / MUBI)
It's easy to say that there's never been anything quite like this episode on any motion picture screen. It's simple, too, to blather on about supposed references and influences: Demanding mainstream works like Stanley Kubrick's 2001: A Space Odyssey and Terrence Malick's The Tree of Life, perhaps.
(...) Yet I'm reminded of what the late author David Foster Wallace said of Lynch's work (Blue Velvet specifically) during a 1997 interview: "What the really great artists do is they're entirely themselves.…They've got their own vision, their own way of fracturing reality. And if it's authentic and true you will feel it in your nerve endings." Wallace goes on to clarify that his own experience with Blue Velvet is unique ("I'm not suggesting it would do it for any other viewer"), which indicates that, when it comes to opinion (as much as the act of creation and what results from it), each of us stands alone. But what potentials exist in that mysterious space between our exposure to a work of art and our reaction to it—between a question posed and an answer given.
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Dale Cooper is not what he seems...
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I Am Become Death, Destroyer of Worlds (Laura Hudson / Vulture)
The code name of the first nuclear test was “Trinity,” a word plucked by Los Alamos physicist J. Robert Oppenheimer from the works of John Donne, one of the greatest metaphysical poets in history. The way Oppenheimer described the naming process is Lynchian in the extreme: “Why I chose the name is not clear, but I know what thoughts were in my mind. There is a poem of John Donne, written just before his death, which I know and love. From it a quotation: ‘As West and East / In all flat Maps—and I am one—are one, / So death doth touch the Resurrection.’”
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Dale Cooper is not what he seems...
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With the lastest Twin Peaks, David Lynch brought arthouse terror to cable television (Rob Dilauro / Daily Grindhouse)
The most important thing that happened last night is pertinent to those who truly appreciate cinema as it once was. In a time of larger than life superheroes, giant robots, and teen geared terror, Lynch and Frost resurrected arthouse from the dead. They showed the world that they are the types of heroes we need when it comes to art, visual expression, and even horror. They took a chance and fought against the typical and were not swept up by the nuclear radiation of the blockbuster.

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Hopefully more directors and visionaries drink the water and stay away from the well. Think of last night’s episode what you will, it is your mind and heart after all. But “Gotta Light?” was a triumphant event in so many ways. Twin Peaks is no longer a simple television series, and my creative third eye is wide open.
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David Lynch Just Declared War on Recappers – Anybody Gotta Light ? (Allison Keene / Collider)
“Part 8” felt, mostly, like an extended student film. That’s not bad, it’s just Lynch. When allowed to do as he pleases, Lynch’s work feels like the unbridled creativity and experimentation of student art. He plays around with sound, color, light, editing, and other parts of the production that most filmmakers essentially just allow to go on auto-pilot. Lynch messes with everything. As if the narrative and his visual work weren’t weird enough, he puts every aspect of the creative process on trial, and finds new ways to approach it.

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Nothing should feel expected, and if it does, it’s because it’s satirical or subversive or setting up something we cannot possibly predict. Two kids go for a nocturnal stroll in the 50s, and one ends up with a frog wasp in her mouth. Two convicts are on the run, and one ends up being gored open by demonic ghosts who free his soul in a black bubble. Anything we recognize as normal just links together some deeply abnormal shit.
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Twin Peaks Is the Most David Lynch Thing Ever, and We Are Damn Lucky to Have It (Cheryl Eddy / io9 Gizmodo)
With eight episodes culled from that giant pile of new Twin Peaks footage now out in the world, Lynch’s commitment to his vision is very apparent. Every exhilarating episode has its own pace and tone, every segment comes with its own specially tailored filming style and sound design, and it’s never guaranteed which of the many storylines will get an update. And yet, amid what sometimes seems like a jigsaw puzzle of chaos, there’s coherency that’s tied into the show’s central character—or characters, really, since Kyle MacLachlan’s Agent Cooper has essentially split into two men, evil “Mr. C” and dopey Dougie Jones, thanks to the strange workings of the Black Lodge. Like Laura Palmer’s murder back in the day, Cooper’s journey is what propels the show. But this time, it involves so much more than just an FBI investigation.
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With a Surreal Flashback, Twin Peaks Rewrote the Rules of TV, Again (Sam Adams / Slate)
The freedom of Twin Peaks also means the freedom to overindulge; it’s possible to love most of what it’s doing and still champ at its self-consciously lugubrious pace or at Lynch and Frost’s monotonous predilection for shrill, nagging housewives. But the series is also demonstrating that for all the strides TV has made, there are still vast continents left to explore.

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Although Lynch is only 71, it’s possible Twin Peaks may be his final work; he’s said he’ll never make another movie—it’s been more than 10 years since his last one—and it’s hard to imagine the circumstances under which a network would give him the same amount of leeway. But he’s already changed television twice over, and this Twin Peaks season isn’t even halfway done.
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‘Twin Peaks’ Part 8 Was the Closest We’ll Come to Seeing David Lynch’s ‘Tree of Life’ (Michael Nordine / IndieWire)
If you’ve ever wondered what the Lynchian equivalent of “The Tree of Life” would look like, last night’s entrancing episode of “Twin Peaks” offers a clue. It might have been the most visually stunning 60 minutes of television ever produced — and certainly the revival’s best episode since last month’s two-part premiere — and most who tuned in have no earthly idea what actually happened. [...]

Instead of following Malick’s lead and showing us the birth of the universe, Lynch gave us an insect’s-eye view of a mushroom cloud and all the granular, multihued chaos within. There’s little concrete information beyond the fact that this nuclear explosion takes place on July 16, 1945 in White Sands, New Mexico, which means that we’re bearing witness to Trinity — the first-ever detonation of a nuclear bomb.

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J. Robert Oppenheimer is responsible for that code name, but the physicist credited this passage from John Donne with inspiring the moniker: “As West and East / In all flat Maps — and I am one — are one, / So death doth touch the Resurrection.”

“Twin Peaks” has likewise been traveling west and east this season, so much so that “Twin Peaks” now feels like a blanket term for Lynch’s increasingly far-flung proclivities rather than the name of a once-sleepy logging town in the Pacific Northwest. This destructive, almost apocalyptic display was the latest and most extreme reminder that nothing is too out there for him.
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The Elemental Power of Twin Peaks' Atomic Montage (Zach Budgor / Paste Magazine)
Episode VIII of Twin Peaks: The Return is the most experimental hour of the show yet, and never more than in this four-and-a-half minute montage of the Trinity nuclear test on June 16th, 1945. The sequence is a whiplash foray into abstract filmmaking, connecting the series’ supernatural horror to the destruction unleashed by the atomic bomb. It is also, perversely, the most backstory Twin Peaks has ever given viewers—in general narrative terms, we’re most likely watching the origin of BOB folded into the origin of the atom bomb—appropriately rendered in its most abrasive formal language to date.

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The long camera move that brings us into the heart of the mushroom cloud is soundtracked by composer Krzysztof Penderecki’s 1960 “Threnody to the Victims of Hiroshima.” Laid over an image of roiling nuclear fire, the jagged, semi-improvised chaos of Penderecki’s score gains renewed ferocity—locking into its spiritual context. When Lynch’s camera enters the cloud, Penderecki’s music becomes almost diegetic, blending seamlessly with the sequence’s sound design. [...]

One image connects to another image to form an idea; atoms connect to atoms to form molecules. Hell is unleashed.
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‘Twin Peaks’ Is More Satisfying If You Stop Trying to Figure Out What It Means (Eric Kohn / IndieWire)
Watching the mushroom cloud work its destructive magic in slo-mo, I was instantly reminded of “Crossroads,” the chilling montage of atomic bomb tests that comprise a 1976 installation piece by experimental filmmaker Bruce Conner, whom Lynch has cited as an influence. Then came the blur of red and shape-shifting imagery that some viewers immediately connected to the psychedelic interludes of Stanley Kubrick’s “2001: A Space Odyssey” and Terrence Malick’s “Tree of Life,” but Lynch was more likely inspired by the same avant-garde traditions to which Kubrick and Malick were paying homage. The lights and colors felt particularly in tune with the work of Stan Brakhage, whose movies unfolded as pure visual experiences — poems that moved.

[youtube]https://www.youtube.com/watch?v=NAoTHILzheo[/youtube]

That might sound like a tough proposition for someone who just wants to know if Agent Cooper will ever emerge from his zombie-like state as he recovers from his time in the Black Lodge, and perhaps “Twin Peaks” will provide an answer to that conundrum at some point. But it should not be a primary metric for measuring the success of the show, no more than one might assail Brakhage’s “Dog Star Man,” a hypnotic evocation of childlike wonder, for lacking a three-act structure.
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Twin Peaks : episode eight – the most mind-melting, majestic outing yet (Dan Martin / The Guardian)
After this bewilderingly brave and groundbreaking hour of television, David Lynch has outdone himself. What an unforgettable journey.

This was the darkest, most bewildering episode in the show’s history – but let’s try our best to unpick the unfathomable. Hats off to the executives who let Frost and Lynch run with this harrowing vision. I’m grateful for whatever they produce, but this run has exceeded all my expectations and now, more than ever, has taken us to places we have previously only dreamed.

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With their usual disregard for conventional storytelling and pacing, it is fitting that after {Part 7], which tied up so many loose ends, we delve deeper into the show’s rich mythology.
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