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Inland Empire [Blu-ray]

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The Criterion Collection today released David Lynch’s divisive 2006 feature film, Inland Empire, starring Laura Dern, Grace Zabriskie, Jeremy Irons, Justin Theroux, Karolina Gruszka, Krzysztof Majchrzak, Harry Dean Stanton, and William H. Macy. I saw what Inland Empire used to be, and I see what it is now. And to me there’s a huge jump in quality. I saw more focus, deeper colors. And it’s not like it became film, but we added grain. The things you can do, it brought it into its own thing. It’s really nice-looking now; it’s really beautiful to me.

To discuss the elephant in the room first; Inland Empire looks rough and cheap. This isn’t a film that was shot on high end digital cameras (like Michael Mann had used on Collateral a few years earlier). The Standard Definition DV look of Inland Empire, with its flat lighting, low dynamic range and digital noise, gives the film a homemade, rough and ready quality that feels quite alienating during the film’s opening scenes. Over the course of the three hour running time you get used to it, of course, but it all feels part of the parcel of what Inland Empire represents, which is arguably David Lynch’s most obtuse, experimental and difficult feature. Things continue to unravel and fracture for Nikki, with the film infused with the dream logic Lynch is known for. But here it’s even more discombobulated than usual. The filmmaker throws all of his obsessions into a blender, resulting in scenes like a sitcom featuring immobile rabbits and bizarre dance routines. a b Lim, Dennis (23 August 2007). "David Lynch Goes Digital: Inland Empire on DVD". Slate Magazine . Retrieved 25 February 2018. I've never worked on a project in this way before. I don't know exactly how this thing will finally unfold... This film is very different because I don't have a script. I write the thing scene by scene and much of it is shot and I don't have much of a clue where it will end. It's a risk, but I have this feeling that because all things are unified, this idea over here in that room will somehow relate to that idea over there in the pink room." [26] Also featured, is 75 minutes of deleted scenes, the 2007 short film Ballerina, excerpts from Lynch’s 2018 book Room to Dream, cinematic trailer, excerpts from Richard A. Barney’s book David Lynch: Interviews, and new cover art.All day. These days it’s all sculpture and painting and, you know, some… some film work. Color-correcting and sound work. But mostly it’s painting and sculpture. So to my surprise I was left so cold watching the film, it didn’t feel dark enough, the 4K upscale artefacts were distracting and the high resolution brought attention to the inconsistent camera work instead of all the shots flowing together under the veil of grain and saturated colours of the original. The film did just felt so disconnecting and I usually find it the scariest movie ever and it didn’t really do anything to me apart from a few scenes in the first hour. Maybe it was because I was with a friend who was watching it for the first time so I was hyper analysing it through them or being there with an audience but I’m not sure.

I could probably talk to you about woodworking all day, especially because I have to get into it more. It would probably be a valuable addition to my life. Like “Lost Highway” and “Mulholland Drive,”“Inland Empire” begins with a flurry of arresting images that only make sense when the movie is over. It then settles into an initially straightforward story about a fading actress ( Laura Dern) who gets a part in a film that she hopes will revive her career. Strange things start happening on the set almost immediately, and Dern and her costar (Justin Theroux) learn that the script they’re shooting is a remake of a cursed movie that was never completed. This premise gives way to a number of subplots dealing with violently jealous husbands and lovers, Polish gangsters and prostitutes, murderers and doppelgangers, and even a strangely frightening sitcom in which all the characters are giant rabbits. Lynch hoped to distribute the film independently, saying that with the entire industry changing, he thought he would attempt a new form of distribution as well. [31] He acquired the rights to the DVD and worked out a deal with StudioCanal in an arrangement that allowed him to distribute the film himself, through both digital and traditional means. [32] A North American DVD release occurred on 14 August 2007. Among other special features, the DVD included a 75-minute featurette, "More Things That Happened", which compiled footage elaborating on Sue's marriage to Smithy, her unpleasant life story, the Phantom's influence on women, and the lives of the prostitutes on Hollywood Boulevard. 15 years after the North American DVD release, The Criterion Collection announced a two-disc Blu-ray that was scheduled to release on 21 March 2023. Lynch has vowed never to work on film again, and for this, his first feature shot on digital video, he lobs a cherry bomb at his entire canon, recording the jagged remnants that resonate from the blast as they slide and dissipate into the swirl of his mind’s projector beam. Some may call it a toilet, but I like to think of it as a splendiferous whirlpool of wonders.

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Last night I watched the 4K restoration of Inland Empire at the ICA in London. I went into it with high expectations and excitement, considering it would be my 4th time watching the film, and the first time I watched it (alone and in the dead of night) I had a trance like religious experience. Goldstein, Gregg (11 October 2006). "Filmmaker Lynch to self-distribute 'Inland Empire' ". The Hollywood Reporter. Archived from the original on 22 September 2007 . Retrieved 12 January 2023. Attwood, Chris; Roth, Robert (September 2005). "A Dog's Trip to the Chocolate Shop – David Lynch". Healthy Wealthy N' Wise. Archived from the original on 1 December 2005. Description: "Strange, what love does." The role of a lifetime, a Hollywood mystery, a woman in trouble . . . David Lynch's first digitally shot feature makes visionary use of the medium to weave a vast meditation on the enigmas of time, identity, and cinema itself. Featuring a tour de force performance from Laura Dern as an actor on the edge, this labyrinthine Dream Factory nightmare tumbles down an endless series of unfathomably interconnected rabbit holes as it takes viewers on a hallucinatory odyssey into the deepest realms of the unconscious mind. a b c "Inland Empire – Cast, Crew, Director and Awards". Movies & TV Dept. The New York Times. 2013. Archived from the original on 12 May 2013 . Retrieved 6 March 2013.

What initially excited you about the digital technology you used on “Inland Empire” when you were shooting?This release, which includes notes about the restoration in the accompanying booklet, is of the “just the facts ma’am” variety, and you may not realize just how “magical” the work is that was put into the restoration unless you play the Absurda DVD immediately after. Skin tones are healthier and fuller, but the most noticeable and significant improvement is in terms of color balance and saturation, revealing so much more visual information in the images and without compromising Inland Empire’s low-res, subterranean power. Like the previous films in Lynch’s so-called Los Angeles Trilogy, “Lost Highway” and “Mulholland Drive,” notions such as time, space, and identity are obliterated to the point in "Inland Empire" where characters suddenly become other people, locations and timeframes change with equal abruptness, and the City of Dreams becomes an endless night from which it seems impossible to awaken. In the earlier films, the split between the dream and real worlds are reasonably hard and fast, though perhaps only really so in retrospective. Here, Lynch smears the line dividing the two practically from the start, both metaphorically and literally. The latter is thanks to his decision to shoot the film on digital video, giving it a visual style that is both familiar and oddly disconcerting and leaves you constantly trying to get your bearings.

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