INLAND EMPIRE (Lynch, 2006)

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A system of cells interlinked
I think the creepiest part was when Laura Dern was slowly walking down a pathway with a spotlight on her and then picks up speed and a loud crash plays. It just freaked me out.
Oh man, I was out of my chair when that happened. Crazy! Also when she is staring at the lamp and then there is this piercing electrical sound and it cuts away to some quiet scene...

She was so unsettling in this picture...
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That freaked me out too. Also, I need to go back and look exactly when it was, but there's a scene, I think where she's first walking through that dark house, where you hear some sort of crash or something and then, like, the sound of someone dying. I don't exactly remember when or what the sound was, but I'll tell you when I look at it.

OK, Sedai, here's some things for you and I to think about in trying to figure out the story. I just posted this on IMDb...

Every theory I've read all have one thing in common. There is something major that their theory can't explain.

With something like Mulholland Dr., there are more than a couple theories where everything is explained. Every last little detail. With Inland Empire, I think we have yet to find the real answer.

* Why are 9.45 and "After midnight" referenced so much?

* Why is the scene at the barbecue so different from all of the others? The dialog is so robotic and the scene is almost dream-like.

* What is the point of the rabbits?

* Why do the Lost Girl and Laura Dern appear to share the same husband?

* What is with the often referenced "Unpaid debt"?

* Why silk and why a cigarette? They have some deeper meaning, if they didn't, Lynch would have done something else.

* Why is the sound of a train heard throughout the movie?

* What are the nine whores dancing about?

* Do the nine whores exist, or are they fake?

* "Who is she?" is a really good question...who is she?

* What is the point of the man who abuses the Lost Girl?

* What is the point of the guy listening to Laura Dern dump all of her problems?

The list goes on and on. Here is my own very flawed theory at the moment. I know it's flawed, but I think I'm getting close. I just have to figure it out.

* The Lost Girl crying at the beginning is the original star of the doomed polish project. As part of the curse, she ended up letting the role take over her life, and the real her is stuck in her subconscious. She lets the role take her over and she is trapped in the last place where she was herself. She isn't literally locked in a hotel room, it's where her subconscious has locked her and the character in the movie took over and "died" before the project was over. She was locked there by the Phantom who is the one that haunts over the movie. Why he is the one and how it came to be, no idea yet. Lost Girl is not really dead, like she was said to be, instead she's trapped, waiting to be set free.

* Nikki is an actress who is past her better days. She gets a big role that's going to launch her back to the top. Just like the last girl, the character of Sue begins to take her over slowly as part of the curse.

* Nikki ends up in bed with Devon. But it's the movie. She's become locked into the movie and it's become her reality. Naturally, she's still fighting the change and Nikki flashes out at some points. She remembers something that happens in the future, about the "Marketplace" but by that, is the "alley" like the creepy lady had said. She tells Billy, but the role has taken over, so he laughs it off. He has no idea what she's talking about, because they're in the movie, stuck there. That's why she keeps trying to say "It's me, Nikki."

* The next day, the prophecy comes to fruition. There she is, looking back on herself. She is busted though, and they go to see who it is. She runs off towards the house on set. She looks back and sees her husband. She is completely scared. Her husband, who is actually her movie husband in my opinion, isn't actually there. She's so terrified of being found out, that she's starting to become paranoid. This is a key scene, because this is where Nikki ceases to be herself and fully becomes Sue. Just like the Lost Girl, the last place in the movie where she was herself, is where she's locked away. Not to be freed until either the movie is finished or the Phantom is killed. When she's in the house and sees the hookers, this is her subconscious and the whores are apart of herself. They all have differing opinions when they speak about a big subject, and this is different parts of herself at war with her thoughts and trying to figure out what has happened.

* The project is finished, and Nikki is freed. She's had a sort of connection with the Lost Girl and feels obligated to free her. She kills the Phantom, since the polish girl's project can't be finished, and frees her.

I know it has flaws, but I think I'm close to the theory. I think the true answer is a combination of all the theories. No one has completely nailed it, but I think we all have figured out pieces to the puzzle. So, what's your theory and what do you think of mine? I'd like us all to try and piece it together with bits and pieces of our theories, because I know mine leaves lots of unanswered things about the movie.



A system of cells interlinked
Check this guy's thoughts out...

Here

Also, I am going to need to watch Sunset Blvd. again to make sure, but I am pretty sure that this line from Inland Empire:

"Cast out this wicked dream which has seized my heart."

is directly out lifted from a scene in Sunset Blvd... In that film, Gloria Swanson is screening an old silent film with the writer, and there are candles in the scene they are watchjing or something. I remember it being really ethereal. I think the crying girl says it in Inland Empire. Those two films may have more parallels to consider, but I need to watch SB again, as it has been a couple years...

I review SB in my thread.



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Well, it's like I told you earlier, someone said they thought it was a modern day homage to Sunset Blvd.

Anyway, I talked to someone yesterday who held the exact same theory as the link you posted.

What's your rough theory to this point Sedai? I'm curious what you're early feeling is.



Sorry but i think you guys are on the wrong track, to analysis it as a film takes from what it is, it's a piece of Avant Garde art; where Mulholland Dr was a challenge of understanding the film text, INLAND EMPIRE is a challanges understanding film AS a text and the nature of it as an artifact. There's certainly layers of conscious to unravel but i think trying to find a narrative is almost futile, i'm sure there are narrative markers to links strands and i like your theories BobbyB but don't think anyone can pin down Lynch's intentions.

Guessing it's released on R1 already, got to wait till monday over here. You really need to sit down and watch the film straight through to fully appreciate, why i'm so glad i saw it at the cinema. Consider the epic 3 hours it lasts, and the multiple endings, even going into the cinema and being on it at one point; it's observing the way film's watched and how we act as viewers.
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A system of cells interlinked
Right, which was my point at the beginning of the thread. I was trying to stay away from the minutae of the film (there is just too much of it to sort without losing it), and focus on the global concepts of the dynamic of film and the viewer, and the duality (multiplicity, in this case) of actors...



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I think there is a narrative there, but Lynch has buried it so deep, that it's almost impossible to find.

I think it's there though. Because honestly, if there wasn't a narrative, it would be a waste of time in my opinion. A movie about nothing isn't a movie at all, but I like the mystery aspect of finding it out. Lynch wants us to find it so badly, but he's really done a good job of leaving it open so we can find whatever we want.

I still can't figure out the whole "Who is she?"



Lost in never never land
Is Un Chien Andelu (sp) a movie then?
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I think there is a narrative there, but Lynch has buried it so deep, that it's almost impossible to find.

I think it's there though. Because honestly, if there wasn't a narrative, it would be a waste of time in my opinion. A movie about nothing isn't a movie at all, but I like the mystery aspect of finding it out. Lynch wants us to find it so badly, but he's really done a good job of leaving it open so we can find whatever we want.

I still can't figure out the whole "Who is she?"
Really think you've taken completely the opposite approach to what Lynch wants. It isn't a movie, it's art. I'm sure there is a narrative, and it is buried and it's probably been obscured because the point is not to find it. The main idea Lynch shows is there's no narrative, as i said in my review it's much like Warhol's Empire where he just filmed The Empire State Building for however long, only Lynch adds the experimentalism of, say, Stan Brakhage, seriously watch some of his stuff and it's uncannily similar to INLAND EMPIRE. Lynch is too clever and makes to few and diverse films for him to make another Mulholland Dr, one of my lecturers commented on it saying it's such pure art, he felt it belonged hung up on a gallery wall.



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Really think you've taken completely the opposite approach to what Lynch wants. It isn't a movie, it's art. I'm sure there is a narrative, and it is buried and it's probably been obscured because the point is not to find it. The main idea Lynch shows is there's no narrative, as i said in my review it's much like Warhol's Empire where he just filmed The Empire State Building for however long, only Lynch adds the experimentalism of, say, Stan Brakhage, seriously watch some of his stuff and it's uncannily similar to INLAND EMPIRE. Lynch is too clever and makes to few and diverse films for him to make another Mulholland Dr, one of my lecturers commented on it saying it's such pure art, he felt it belonged hung up on a gallery wall.
Well, I have to respectfully disagree.

Sure, similar in that it's a mystery, but other than that Mulholland Dr. and Inland Empire are two COMPLETELY different films even the way I describe it.

Lynch has even said it all connects. I can't remember where he said it, but it started off with him filming random scenes with Laura Dern for fun, and then when he stepped back and looked at it, he found a way to connect it all. Lynch has said he wants nothing more than for people to go watch his movies and then go out to a coffee house and talk about it for three hours. That's what is most important to him about his movies. He wants you to discover a mystery, but he lets you find whatever you want.

I think it's completely off base to say Lynch doesn't have a set idea for what he thinks the movie means. I think his main purpose of this film was to create something with multiple interpretations, so that the viewer could be apart of the process since they decide the ending.



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Well, I throw around the term movie a lot just because that's what they all are to me, but I think there is a difference between "Film" and "Movie"

For instance, I think Blue Velvet is a movie and Mulholland Dr. is a film. I think The Straight Story is a movie and Eraserhead is a film.

I know that might not make any sense. LOL



Well, I have to respectfully disagree.

Sure, similar in that it's a mystery, but other than that Mulholland Dr. and Inland Empire are two COMPLETELY different films even the way I describe it.

Lynch has even said it all connects. I can't remember where he said it, but it started off with him filming random scenes with Laura Dern for fun, and then when he stepped back and looked at it, he found a way to connect it all. Lynch has said he wants nothing more than for people to go watch his movies and then go out to a coffee house and talk about it for three hours. That's what is most important to him about his movies. He wants you to discover a mystery, but he lets you find whatever you want.

I think it's completely off base to say Lynch doesn't have a set idea for what he thinks the movie means. I think his main purpose of this film was to create something with multiple interpretations, so that the viewer could be apart of the process since they decide the ending.
That sounds like Maddox's rip of Lynch. If you've read interviews and such, the man's notoriously difficult to get a straight answer from, i wouldn't take anything from him at face value. Even if you still disagree with me about it being art more so than film, how do you explain his stylistic choices or the distribution? I know they're small things but i still stand firm. I didn't mean INLAND EMPIRE and Mulholland Dr were the same film just meant that when you look over his filmography they're all very diverse and done differently which is why i wouldn't have thought he'd make 2 films challenging narrative readership back to back. The more time you spend unravelling the narrative the more you miss the beauty, you need to stand back from the movie and observe it, like a painting in a gallery.



A system of cells interlinked
Watched it again last night. had a couple of vodkas and ate some yummy food while watching, and, this time through I was absorbing every image and sound. Lynch films of this magnitude need time to settle in the recesses of the mind. Time to unfurl and expand in one's psyche. It actually seemed a lot more connected to me last night for some reason, although I can't put my finger on why.

I will stand firm by my theory about folding space. It is one of the clearer things to me at this point. I LOVE this sequence btw, especially when the girls are predicting the event before it happens. Love the sound production there.


They explain the event, and soon after she puts the watch on and starts the process, which entails crating a wormhole in space/time using the ritual of boring a hole into the fabric, she then folds the fabric and gazes through it, where things clearly shift and we are whisked off to another place and time. During this, the hands on the watch begin to spin faster and faster... Clearly a reference to time travel if I ever did see one!