Excelente. Como dicen por ahí, "a bad acid trip". Escenificación por excelencia de "lo siniestro" (cf. Freud), perturbadora. Procedimientos cinematográficos para destacar; la alternancia de planos fijos, difusos, deformaciones, etc. La banda de sonido es buenísima y contribuye al clima de época tan marcado que detenta este film. Sin duda, pasa a formar parte de mi lista de películas favoritas.
At least two levels of fascination. Images per se, beautiful frames, gorgeous Patricia, rock music from the guts -Rammstein, Marilyn Manson, Bowie- and that narrative mixture of sequences. The other level, the core human condition and the puzzle of the Doppelgaenger, which is the pure negativity. According to some crazy psychology -Jung, e. g.-, the first step for human development. A lost highway to find the way.
2.8 stars. My least favourite Lynch feature because of its nu-metal scuzziness. This is the one in which he really delves into the heart of misogyny, but without the anchorage Sheryl Lee's incredible performance gave to 'Fire Walk With Me'. This is basically a Therapy? record on film... and probably 'Infernal Love' at that. Of course, it still plays out like a nightmare revelry, which remains an indelible experience.
Can you understand what Lynch want to say? Everything is perfect except the content. Fantastic production of mise en scene, colours, music. Vogue & mysterious. His movies are dreams we see at night. No explanation. Then you forget what was it all about. I love Lynch but I mostly admire him because he makes movies like a man with a tumour in his head see the world, full of hallucinations and mis interpretations.
It has everything that makes David Lynch movies tick: a beautiful dead femme fatale and her double, the young rebel on a motorcycle, the absorbing hard-hitting soundtrack, the red curtains, the strange demonic man from another place, Angelo Badalamenti playing some tunes and a lot of weirdness and horror. Feels even more like a companion piece to "Twin Peaks" now than ever.
One of my all time favorites. Lynch's carefully crafted, very complex sound design - the use of music as sound and of sound as music, the use of fragmented pop songs as sound signatures and the use of (often nearly inaudible but still potent) low frequencies - is unique and operates like a slipstream that sucks you into the film and its twisted narration.