/film/ - FILM

There was a thread or discussion in the old place about "dream" movies and some of their creators, Lynch was not very well-appreciated IIRC.
Honestly the only movie i saw from him felt a little disjointed in that regard, and seeing the other work of his camera men i can bet he just winds it on set, wouldn't be the first time especially if the cinematographer has bigger balls and debating skills than the director.
Would like to know more as a i highly enjoy that kind of visual intermission, also interpreted as psychedelic, that off-key does help the narrative even if a bit abstract at times. Problem is when it appears in canonical series as it can be interpreted or used as a canon-break for disgruntled fans, like how some claim that James Bond died in Licence to Kill because the movie changed dramatically into the improbable after said scene/break, but the most famous case would be Total Recall.

>jew trash
Is he? 
Haven't watched TP but i've really liked everything else i've seen of him

I wouldn't be surprised if Lynch is a cryptokike. His movies tend to be overly subversive towards small town life, but I still enjoy some of his work. But Twin Peaks 3 is really bad, and I think his work started crashing when he joined the tm cult. It seemed to zap everything out of him, like he was wasting away on sedatives or something. He's old now, and that season was so indulgent and embarrassingly bad it would not surprise me if his mind is unraveling. 
He doesn't seem overly postmodern to me though, nor did I ever think of him as a nihilist.

>>1133
heh, directors don't have balls anymore. Sets are ruled by teams of producers and faggot graphic designers. I never thought about that though, he really doesn't have a distinct photographic look

>>1134
>>1137
He doesn't look like a jew and the subversion of small town life in Blue Velvet and Twin Peaks wasn't any cultural attack and disdain for it but to dispel romanticism and portray a dark side of it that these shows these are normal people with highs and lows partly as a reaction to Reaganism and him growing up in small town America himself. Also the Return was a good change and I feel is misunderstood because no one has patience which was one of the themes. The tranny and slog in season 2 is the only thing I disliked about Twin Peaks.

I wish normalfags never discovered this place.

>>1165
>everyone i dont like is a normie
eat a dick jew hahaha

>>1164
Cryptojews don't need to look like a typical rat to be a jew. Nobody, in my opinion, gets to that kind of status in hollyberg by not being a jew or its golem, especially someone with the supposed intention of making atypical or art films.
If it was just to dispel a romantic idea (which is already, objectively subversive) then maybe he would've have not gone into such extreme territories with how wicked some of the people are, and how sordid some of the twists become? His movies that take place in small towns make that kind of simple life seem like an actual nightmare, where basically no one can be trusted and where nearly everyone is hiding some awful secret. Also, on top of that, his obvious elevation of electricity to the likeness of transcendence and a God is clearly subversive to the natural world itself, not unlike what a lot of jews like to disseminate. 
Regarding the return, there are much better ways of cultivating patience and attacking the lack of it in a dead-attention-span-culture, like making the series slow and well thought out and suspenseful, instead of silly and retarded where Coop ends up behaving like a brain dead jackass for most of the series. 
I also don't think he's only critical or cynical of small town life because life in cities also is a nightmare in his other movies, and I'm also aware of how tired he got of the hollywood system, but that doesn't neglect from the fact that he did at one point sell his soul.
>>1165
This does not help.

>>1127 (OP) 
>it's postmodern jew trash, just like naked lunch
get a life mate.

>>1169
While a bit meta the thing i dislike about Lynch is that he seems to be the only one knowing what some of his movies and sequences are about and he knows the public wants an opinion about his pieces hence his game of pretend about his work being avant-garde.
This presents us with a couple of situations we can deduce based on previous/posterior events, he either doesn't know what he's doing sometimes and wants to pass it as deep ("cinematographer taking the helm" argument in this thread) or makes choices based purely on a stylistic visual pursuit but done in the middle of narrative-driven section which leaves him stranded on how to explain why, both which are dubious for someone considered "good" as a all-purpose/general director.

I am not saying they should explain everything, no one should unless it's highly specific meta info, but a movie should have some sort of clue or given context to understand where it wants to take us, honestly less people would bother talking to the guy if he placed an empty bottle of pills in the floor conspicuously on a shot or had a character show an unexplained facial tick implying mental shenanigans, hence why i think he kinda likes to do that to get attention, Jean-Pierre Melville is (rightfully) called a hack for much less than Lynch. None should be an utility shot, just part of the scenery or a character trait; these work the same as a parent wanting to take a kid to the amusement park, if he says nothing at all for 3 days and then picks you up by force and drags you to an undisclosed location i don't think any kid will enjoy that rather than watching a commercial with audio clues of a park and the dad giving a playful look or just saying "hop in the car".

Now another problem arises when all of these concern a scene or sequence from out of nowhere instead of the movie living the full name of using dreams, while more complex to make i think some films play very early with the notion of not knowing if it is all a dream or not that everything from then on is usually not explained at all and just goes with it, now that is more of a trip than a whore being at a bar and then finding herself jamming it in with another girl in an imaginary neon flashing black void and then reappearing in the middle of office work. I guess it's a personal narrative-based opinion but indeed it makes the man look like he sold his soul to play retarded in Hollywood, and indeed most everyone who is dwelling there did something wrong and/or was born plain wrong.

>>1169
The gun is being jumped that there's an ulterior (ideological) motive to making these small towns have dirty underbellies with normal plain people and it could be an interesting concept to him and the argument that's being made sounds moralist. None of the movies about it deride small town America or show that they're horrible places but that there is more than meets the eye, and in Twin Peaks' case having the show take place in a small town allows for a personal environment and more expressive characters.

If he can be accused of anything it's being a hack but there are bigger shabbos goyim in Hollywood and I haven't seen anything that stood out to me as particularly degenerate aside from the tranny which kept in his style of quirkiness more than pushing for faggotry.

As for the Return it was something akin to a movie rather than TV show and the slow pacing paid off, loose ends aside, of Cooper being an indolent for most of it and the stark fact of how life goes on as seen through the other characters in the show. The theme he had for the Return was that going back to the past isn't a happy but sad experience and made it as a reaction to the reboots of old shows that were made to further make Americans ignore how bleak their country became.
>>1173
His movies are based off of dreams he has so it's clear that there really isn't any apparent meaning from the get-go and it's cynical to dismiss it as pretentious as I think he made stuff like Inland Empire because he liked it and wanted to do it.

>>1127 (OP) 
twin peaks started good but then started sucking pretty damn hard mid-end into it(like nearly all series do especially nowadays)

>>1176
I'm starting to write some stuff based on dreams i had but they are based on cool sequences that somewhat make sense when i tried to pierce them together immediately after i woke up, i could also write the music i dream of if i had any clue on anything related to music or an instrument Lynch seems to just pull gooey stuff out of his holes sometimes.
>it's cynical to dismiss it as pretentious
>stuff based off of dreams with no apparent meaning from the get-go that aren't developed
Come again?

>>1168
stay mad kike XD
its jew trash, and you know it. the faggot who wrote the book used to be good friends with allen ginsberg; a jew and self admitted pedo. ginsberg would talk about having “relations” with young indian boys on his trips to india. but dont take my word for it, go ahead and read his autobiography yourself. you’ll find it in there, as did i. but hey “mate”, keep defending jew pedos hahahaha

>>1179
book?

I have no hostility toward Lynch because he talks like my grandpa and he was one of the few interesting directors back in the ancient days of video rentals. On the old board someone called him The Randomizer which always gives me a chuckle.

>>1179
>book
Which book?

>>1178
He's just stringing together dreams he has or incorporating events from them into movies with no pretentions of meaning to them.

>>1189
Oh OK, i originally read you wrong then, yeah that makes sense and to be fair plenty of video art is done with such technique.
Now a big problem would be third party individuals trying to give meaning to them in an effort to make sense of what they are watching, i mean that's understandable and a logical consequence of meddling visuals with narratives with no discernible barriers but at the end of the day that's not a problem of the director unless he really screws it up, i haven't seen much from him so cannot say.

>>1185
>he was one of the few interesting directors back in the ancient days of video rentals.
The BetaMax days or older when people smuggled reels? if VHS 90's days then i think there were plenty of interesting directors by that point, although most of them non-Hollywood aligned. I recall seeing early Takashi Miike films in the adult section of an old store i was dragged into, it wasn't porn but the runners thought it was too gorey to be left in the action section. Big part of Miike's early career was basically odd imports bait tapes, they weren't very good but had plenty of quirk to justify a rental.

>>1181
it was a long time ago when i read it and it was most likly the biography (not an autobiography, my bad) written by barry miles. i would never read such trash today, but in my younger years i read lots of marxist garbage not really knowing what i was reading. if its the same book, then there are lots passages taken directly from ginsberg’s own diary/memoirs. i remember the book containing lots of first person accounts from ginsberg’s life, written by him and i remember getting about 2/3’s of the way through the book and getting disgusted when ginsberg started talking about his “relationships” with young Indian boys on his trips to India. i put that shit down and never finished it. pretty sure i eventually threw it in the recycling bin with the hope that it might become something useful, instead of pedo, homo erotic filth celebrating gay sex with young boys.

>>1176
>If he can be accused of anything it's being a hack 
Since you are defending his work, what about it is weak enough that makes you think he could be called a hack?

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>>1176
>I haven't seen anything that stood out to me as particularly degenerate
Maybe you haven't seen enough of his work?
I think that Miles Mathis is hit or miss and his existence is dubious to begin with, but this came out just today. It's not written by him but he has some funny things to say at the end (pdf).

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>>1226

>>1225
The same unchanged themes and style in his auteur works not that I really mind.