While investigating the mysterious death of a nightshift waitress, Special Agent’s Chester Desmond and Dale Cooper unravel the bizarre clues, mysterious disappearances, and strange happenings that lead to the last seven days of Laura Palmer’s troubled life and ultimately the killer.
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Unlike the TV series, there is little or no comic relief here -- a dense, foreboding atmosphere of surrealistic terror settles over everything, up until the ethereal ending. As a creepy thrill ride it delivers, but it's probably only for die-hard fans of the show (although Audrey is not in it, unfortunately).
This is one hypnotic and nightmarish thriller. David Lynch paints beautifully vivid pictures in this haunting film that is a great counterpart to Lynch's amazing series. Nightmares never looked so beautiful.
remastered in 4K, rewatched, re-rating. There is no turning back, time mutates us while the films in their fixed structure mutate as our changes. Some filmmakers who have been important to me seem much less now and, above all, very rhetorical, like Tarkovsky, Tárr and Lynch. This film still guarantees a stimulating variation of "film noir" crossed with fantastic, but is often too kitsch "pour épater".
Re-watching all TP content before I begin the Showtime return series. Don't remember having a strong reaction either way when I first watched, but re-watching now after having also binge-watched all of seasons 1&2 of the series, it really stayed with me. A darker, less-quirky take on the series, but one that pushes close to being the best Twin Peaks-related content.
This is truly beautiful and there are parts that add up to a masterpiece of tremendous sensitiveness, but I feel like it has some dull parts. The show still is scarier and more efficent on building up the specific and perfect atmosphere of this whole universe.
A semiotic-thriller becomes a narcoleptic dream-noir. There is no pre-tense for reality waking reality simply becomes your most permissible fantasy space desires confronted with the paternal a second pre-conception where you either come out dead or alive. if you have the opportunity of a sexual satisfaction within the limits of what is permissible take it. The story of Laura is the failure to bring her back to life.
Couldn't enjoy much. Lynch does more intoxicating work when Frost co-writes. Concerning FWWM, there's no normality to anchor Lynch's proclivities, to relieve the onslaught of his total vision of life as nightmare. The film cudgels you w/ suffering until one is finally numb 2 the effect. DL is at times immensely talented, while also childish, conservative, & intermittently uninterested in effective scene construction.
Grandrieux owes much to Lynch, but this film specifically. It is the closest Lynch ever got to embodying his idol, Francis Bacon. It is a nightmare. A spider's egg. It hatches under closed eyelids, projected on to the walls. Even though I only saw Twin Peaks: Fire Walk with Me recently, I also feel my cinema is in a debt to the images and sounds in this stabbing, this murder of a film.