David Lynch's impossibly mundane and unspeakably grotesque Eraserhead turns a looking glass upon an entire constellation of avant-garde signifiers.
David Lynch's The Elephant Man, now available from Criterion, is as much a life-affirming parable as it is an exercise in reorienting the boundaries of what we recognize as human--and inhuman.
David Lynch and Mark Frost's seminal Twin Peaks is rich with insight as to how both people and works of fiction can age gracefully.
We move through life among strangers whom we try to make less strange by identifying repetitive behaviors as identity. At some point, we might even say we "know" a person. Lynch's Lost Highway shows that we don't know anything about each other.
How can we appreciate David Lynch's Blue Velvet, a film about America's private darkness, in an era when such anxieties, tensions, and corruptions are so openly apparent?
These 13 films help us understand horror as an important mode of cultural expression, as a means to explore the dark inner recesses of ourselves and our society.
As with David Lynch's films, so too in his photography, plots are illogical and non-linear as they take a back seat to mood, atmosphere, and objectification.
The legendary director behind Twin Peaks, Eraserhead, and Mulholland Drive joins co-author Kristine McKenna for a unique blend of autobiography and biography that does little to solve the mysteries of his life and work.
The history of this important American cultural institution is vital and appreciated, of course. If only the text had more "life" and "color" in it, as a good film does.