Inland Empire differs from Lynch’s previous films Lost Highway (1997) and Mulholland Drive (2001) in that it does not divide – albeit confusingly and possibly only in retrospect – into sections of fantasy and reality. Those movies marketed themselves on there being a solution embedded within their nightmarish Möbius strip narratives. The structure of Inland Empire is more akin to that of the metaphorical web from the Brihadaranyaka Upanishad to which Lynch himself referred, one supporting a network of hyperlinks to the repeating themes of Lynch’s career, the process of making films and the city of Los Angeles, “Inland Empire” being a named suburb of the City that conquered the world by commoditizing its dreams. From Dorothy Vallens in Blue Velvet (1986) to Laura Palmer in the Television series Twin Peaks (1990-current) and its feature film prequel Twin Peaks: Fire Walk with Me (1992), the key to the lurid and surreal world of David Lynch has always been sexual abuse. Lynch shot Inland Empire without a script, handing each actor new dialogue each day on set. “I write the thing scene by scene and I don’t have much of a clue where it will end,” he said in a 2005 interview. “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.” Lead actors Laura Dern and Justin Theroux said they had no idea what the film was about while they were shooting it: a sentiment echoed by many viewers who have seen it since. Monologues delivered by Dern’s character towards the end of the movie strip away some of the artifice of filmmaking to disclose the sex-work that Lynch seems to feel underpins the Hollywood dream and the damage done to those sufficiently mesmerized to enter the dangerous alleys and backrooms behind its marketplace.
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