#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A blonde actress is preparing for her biggest role yet, but when she finds herself falling for her co-star, she realizes that her life is beginning to mimic the fictional film that they’re shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy.
Plot: An actress’s perception of reality becomes increasingly distorted as she finds herself falling for her co-star in a remake of an unfinished Polish production that was supposedly cursed.
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The film Lynch has been working towards all his career
I just saw this film at the New York Film Festival followed by a Q & A session with David Lynch, Laura Dern, and Justin Theroux. I will try my best to recount my thoughts while they are fresh, and incorporate what the film maker and actors had to say.
“I can’t tell if it’s yesterday or tomorrow and it’s a real mind f—”
This single quote from Laura Dern sums the movie up fairly well. It is also one of the self- referential moments of the film that explores the audiences very thoughts while providing some comic relief.
Lynch’s new film, INLAND EMPIRE, is similar to his other work, but unlike anything he’s ever done, or I’ve ever seen before. As one reviewer aptly put it, it is a double reference to Hollywood and the inner workings of the human brain. Before I discuss the substance of the film I will briefly review the technical aspects.
First of all, the movie is not unwatchable (because of clarity purposes) as some critics had said, although I did see it at the Lincoln Center which has a beautiful theater and top quality facilities. The digital camera works well for this film. It lose some of the cinematic flourish of film, but also brings a more realistic, gritty feel to it that is appropriate for the theme. The lighting and production were top quality as usual for a Lynch film and the score sets every scene brilliantly. Often times we can’t tell if the sound is diegetic or non-diegetic, but it makes no difference.
Lynch said that he used the digital camera to give him freedom. You can see much more movement in this film than his others, giving an almost voyeuristic feel. He also uses many close shots, and as always, obscure framing allowing ambiguity and confusion. Lynch really explores the freedom of movement and editing that is available with digital, and you can feel his energy and zest in the new medium. The moments of suspense and terror are so well done – there are several scenes that will literally make you jump – that I found a Hitcockian brilliance of using subtlety, indirectness, and sound to convey emotion rather than expensive special effects. Of course, there are other scenes that would qualify as downright freaky.
The movie is completely carried by Laura Dern, and not because she is in 90-95% of the scenes. Her character(s) morph and change so often in identity and time that it is hard to believe it is her in every role. Her range and ability to work consistently over so many years and under the conditions of this film is mind blowing. It is one of the finest performances I’ve seen by an actress or actor.
The film itself is hard to summarize. Most of you know the basic plot, but this really means nothing about the film. It has no type of linear story line and the converging and diverging plot lines are connected by only the most simple threads, time, location, memory (“Do I look familiar? Have you seen me before?”) identity, and people who are good with animals. It would be a disservice to this film to try to find meaning or symbolism as I see some people already are. It is not a mystery to be solved, as Mulholland Dr. was (though that film never will be solved either). It is a movie that plays off of ideas, color, mood, it presents intangible emotions that we feel and internalize rather than think about and solve. Film doesn’t need a solution to make sense, but it is typical for us to want solve things, to have closure. This film is better if you just let it wash over you and surrender the urge to find meaning.
The three hour running time makes no difference because the movie moves in and out of itself with no regard for time. Using so many scenes allows time to effect the viewer much as the characters themselves. As the characters question time and reality, the audience does too. As the scenes slowly build up, giving us reference, we start to wonder where we saw that character, who said that line before, what location fits into what part of the sequence and how, leading up to the Laura Dern quote I used before. It doesn’t ask us to think, but to feel, and it does this better than any film I’ve seen. It plays on our emotions with intense sound and cinematography, grasping fragments from dreams, sliding in and out of reality, exploring nightmares, and asking us what time and reality really are. The film is also very self-conscious as I said before, and also makes many subtle (and not so) pokes at the audience. It also has some truly surreal moments of Lynch humor.
Explaining all this doesn’t really matter because you will have to see it and take your own idea from it. I would recommend that you see it in a theater though, as it could never have the same impact anywhere else. I was skeptical going into this movie after what I had read, thinking Lynch had gone off the deep end. However, I realized nothing you read about it will make a difference once you see it, and that Lynch is in better form than ever. Ebert said that Mulholland Dr. was the one experiment where Lynch didn’t break the test-tube. With INLAND EMPIRE he throws the lab equipment out the window. His freedom in making this movie, both with medium and artistic control, is unparalleled in anything he’s done. He finally made a movie for himself and his vision, without any kind of apology or pretense.
Well….. here goes….
I saw this movie this past Monday morning at the NYFF (New York Film Festival but I’m sure you probably knew that already) and I have to tell you, I’m at a loss at how to even begin writing this review. I gave it a little time to sink in and I’ll just try my best to give you something.
For one, as you probably already know, the movie is three hours long. It’s one of those three hour movies where you really start to feel it about an hour and a half in. Now, I’m all for a movie of that length and sometimes even longer than that but really now, this movie should get cut down at least by a half hour. It’s something that Lynch should consider but it doesn’t sound like it’s going to happen at the time of this writing. I don’t mind watching a film where the director refuses to hold my hand and lets me work the details out for myself but watching this and trying to make any sense of it at all was like walking around in a dark forest with a blindfold on. After three hours of watching something like this, it does get tedious I’m sorry to say.
I read a review somewhere describing the film as “impenetrable”. I can’t think of a better word to describe it myself. If you were to ask me what this movie was about, I really wouldn’t be able to tell you. Now, that’s to be expected from a Lynch movie usually but this movie is probably the most abstract thing he’s done, Eraserhead notwithstanding. The movie seems to be more about the feeling itself you get from watching it, rather than having any kind of real story to speak of. This feels very experimental, especially considering the fact that it was shot on DV.
I personally hope that Lynch doesn’t give up on film completely because I think that while DV proved as an interesting choice in making this film, I think that very few people can give you beauty on film like Lynch does.
The movie is loaded with those signature Lynch moments of menace that seem to treasure slowly approaching the corners of long hallways where something horrible may be waiting. Lots of tense, dark scenes with eerie music that suddenly becomes an assault on the senses. If you think of the diner scene near the beginning of Mulholland Drive, you’ll know what I’m getting at. Now that I think about it, the film reminded me of Mulholland Drive in that it seemed to have it in for the falsity of Hollywood at times. I got that out of it, at least.
The acting was superb. Laura Dern plays what feels like four or five different roles and her range is simply astounding. I’ve grown to appreciate Justin Theroux over the years and his character in this film is somewhat similar to the one he played in Mulholland, the cocky ladies man type but I really liked him in this. Also, this movie contains many of Lynch’s old cast members and it was always fun to see who would pop out next.
What I really liked about the film was the soundtrack. It’s full of Angelo Badalamenti’s dark work and there’s a couple of great songs in there as well. I downloaded Beck’s “Black Tambourine” after hearing it played in the film. I will definitely pick up the soundtrack for this one if it is ever released.
There were surreal, beautiful moments that I should at least mention. There was a scene near the end involving a lighter that was really moving for some reason. There was also a kind of spiral, time warp, loop thing similar to when Bill Pullman answered himself on his house intercom (in Lost Highway). You’ll see what I mean when you watch the film but it was definitely one of the better moments.
I love David Lynch, I love just about everything he’s done but in all honesty, this isn’t a movie I’m necessarily dying to see again. I really want to tell you that I loved the film but I honestly can’t. I do appreciate the effort. This is a film unlike anything I’ve ever seen before, that much can be said. It’s just as weird as anything else he’s done and if you’re looking for a good dose of Lynchian madness, believe me when I say that you don’t need to look any further. There are many of those strange moments where characters say strange things or act strange in general and wouldn’t you know it, even a musical number or two sneaks its way in. I appreciate the man and I appreciate the fact that he makes daring, original work. But this was borderline frustration.
I guess all I can say is that I liked a lot of it but at the same time, I really felt like I was wading through mental molasses trying to grasp what unfolded before me. There really is no sense in trying to make sense of this film but there’s obviously some sort of story or message that Lynch is trying to get across that I couldn’t get to and I think that’s why I’m slightly put off. I didn’t mind letting it engulf me in its strange universe but I think the length of it made it a little tough to appreciate fully.
I didn’t even mention the family of bunny rabbits. Or the random visits to Poland. Or the Locomotion dance number. Or the screwdrivers. But you can see all of that for yourself and make of it what you will.
RATING: *** out of *****.
PS I really tried to write an honest review of the film. I sincerely hope that at the very least, I was able to give you an idea of what to expect.
Original Language en
Runtime 3 hr (180 min), 3 hr 17 min (197 min) (Camerimage Film Fest) (Poland)
Genre Drama, Fantasy, Mystery, Thriller
Director David Lynch
Writer David Lynch
Actors Karolina Gruszka, Krzysztof Majchrzak, Grace Zabriskie, Laura Dern
Country France, Poland, USA
Awards 4 wins & 20 nominations.
Production Company Asymmetrical Productions, Camerimage 2, Inland Empire Productions
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1, 1.85:1 / (Letterbox) (Italian DVD)
Camera Sony DSR-PD150
Laboratory FotoKem Laboratory, Burbank (CA), USA
Film Length 4,977 m (Portugal, 35 mm)
Negative Format Mini DV
Cinematographic Process DVCAM (480i/60) (source format), Digital Intermediate (master format), HDCAM SR (1080p/24) (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision Premier 2393)