This review may contain spoilers. I can handle the truth.
SilentDawn’s review published on Letterboxd:
This review may contain spoilers.
“Is it future? Or is it…past?”
Such a phrase is irrelevant. A mystery to an enigma. A dream of a nightmare. David Lynch solves one riddle by manufacturing another. Timelines and dreamscapes and alternate universes are merely the tree line for circular, unceasing trauma; darkness of an empathetic vacancy conjured by universal Evil forces. History is forged by people, and Lynch provides evolution for their rottenness in the form of typical life: houses, families, community. But the seed was already planted, and it was always bad. Never good, always molten, wrathful against the goodness birthed for reconciliation. It infected bodies and yards and celling fans and staircases, school hallways and police stations and traffic lights and waterfalls. A doomed world imbued with tragedy. Forever warped. Bent by the light. Cooled by the night. Attempt to alter is meaningless. The hand always slips, with texture bracing enveloping air and the loss of human sensation, and absence haunts its history, for the sacrificial lamb is just that, forever herded to the slaughter. Laura’s scream is a familiar sound. It shouldn’t be, but it is, and that will never change.
- The shot/reverse shot of Cooper and Carrie wandering up the stairs towards the “Palmer” residence is a total Psycho/Halloween extension. It isn’t just the house that’s haunted!
- Interior lights turning off in unison is the scariest shit.
- Cooper’s “what year is it?” is the saddest pondering of a man realizing he cannot save a soul. A myth damned to trial and error across the cosmos.
- This is Lynch’s masterpiece.