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TWIN PEAKS: THE RETURN

David Lynch Verenigde Staten, 2017
Moved to the core of my being as I was by the 18 episodes of Twin Peaks that appeared between May and September of last year—as uncompromised and demanding as anything that Lynch has made for cinemas—I kept finding the mark of the series cropping up in the strangest places in the months after.
januari 30, 2018
Lees het volledige artikel
The Return" portion cinches what threatened to be a Fleetwood Mac reunion show. Tantamount is the fact dropped that Lynch and Frost worked on the script for four or five years. Cooper, every one of him, gets Icarusized, as Lynch broke new ground in his quest to "show" doppelgängers.
december 31, 2017
FilmCritic.com.au
It started by slowing everything down, and then it went way, way out, inch by inch, week by week. Absolutely nothing like the original 1990s series, The Return was a deep meditation on … returning, precisely: the difficulty of returning, through time, in one's body, to any kind of origin, whether that origin is a town, or one's self. However you slice it, it's a grand, momentous achievement, including some of the finest work Lynch has ever done.
december 22, 2017
The return of Twin Peaks in 2017 came like a Taser shock to the "golden age of television," overturning audience expectations for what Twin Peaks—and TV—could encompass, both in narrative and form. . . . With its narrative fissures and variety of abstract mise en scène, The Return has blown established forms of television wide open and generated some of the most sublime digital artwork of all time.
november 3, 2017
The temporality of the new series is unbound to stadial satisfactions. Over the first half dozen episodes, the series seemed — to many — achingly slow. But then we would have sudden bursts of exposition, as if to say, "You know, we can explain things in a minute. We can just tell you." Those sudden, lurching, Lynchian moments might be just right or slightly off or way out, but in their manipulation they are reminders that in The Return, time, space, and tone are in constant flux.
september 18, 2017
I have some conflicted feelings about the finale, and I think that's probably appropriate... But with something like this? Or any other singular piece of art? A movie, a book, a painting, a play … I can think of so many examples in all of these where the artist broke all of the conventional rules. And that's WHY the art was so good. And no, not everyone would love it. But not everyone loves everything
september 8, 2017
Waggish
Even though I was sure the end result would be closer to Inland Empire than the original show, I thought Frost's presence as well as the sheer task of shaping 18 hours of material would require some sort of narrative arc simply to serve as an organizing principle. And it certainly seemed that way until the elliptical and incredibly desolate final episode, which I found viscerally disturbing like nothing else in Lynch's oeuvre.
september 7, 2017
Do I wish there were more answers? Kinda... [But] Twin Peaks will be one of the main memories laid down for me by summer 2017. It actually slowed time down — a precious thing when one is nearing fifty. Both by durational tricks (take a bow, floor-sweeping guy!) and by making the weeks stretch out like Cooper's face as it nears that big power socket, as we waited for the next exciting installment.
september 6, 2017
There's little that's delicate about the conclusion to the Twin Peaks revival, which aired its final two episodes this past Sunday on Showtime in a two-hour block. Back in my first recap, I noted that there was "no netherworld of nonexistence in which I'd rather spend a summer," though I couldn't have conceived that my comment would so accurately describe the harrowing, horrifying endpoint of FBI Special Agent Dale Cooper's (Kyle MacLachlan) years- and worlds-traversing odyssey.
september 5, 2017
Nylon
This is way beyond different time lines and doppelgangers. When Cooper and Carrie/Laura go up to that house, they are not greeted by Sarah Palmer, but by the real woman who owns the real house, in real life. (If we can even trust that to be real.) It's one final bit of dislocation from Lynch, one final reveal of nothingness, his masterstroke, and the end to what might be his existential masterpiece.
september 5, 2017
Over the course of the series's final sprint, Lynch turns this story into an elemental drama of dramas, a distorted and refracted version of the lone American male hero on a relentless quest to rescue an abused woman—he turns "Twin Peaks: The Return," in other words, into a modern-day version of John Ford's "The Searchers," and the tragic depth of his view of the solitary and haunted Western hero is worthy to stand alongside Ford's own.
september 5, 2017
The Perpetual Present
Argue as we may, the moment I'll remember most is Cooper in the Twin Peaks sheriff station, saying "I hope I see all of you again." It could just as easily be a man talking to the figures of his fantasies, or Lynch talking to his own artistic creations—creations that, as Lynch has insisted over the years, seem to spring out at him from some unknowable source, but that he's had the luck, fortitude, and skill to put on screen. Bless his madness.
september 5, 2017