David Lynch Has Left The Building

 I cannot say I understood all of his movies (Especially Lost Highway and even Mulholland Drive), but never did I not want to watch David Lynch. 

Some things read this afternoon about Lynch.

John Semley, The Inimitable Weirdness of David Lynch (TNR)

Billy J. Stratton, David Lynch exposed the rot at the heart of American culture (The Conversation)

As someone who teaches film noir and horror, I often think about the ways American cinema holds up a mirror to society.

Lynch was a master at this.

Many of Lynch’s films, like 1986’s “Blue Velvet” and 1997’s “Lost Highway,” can be unsparing and graphic, with imagery that was described by critics as “disturbing” and “all chaos” upon their release.

But beyond those bewildering effects, Lynch was onto something.

Peter Bradshaw, David Lynch: the great American surrealist who made experimentalism mainstream (The Guardian) has a really great paragraph:

No director ever interpreted the American Dream with more artless innocence than David Lynch. It could be the title of any of his films. Lynch saw that if the US dreamed of safety and prosperity and the suburban drive and the picket fence, it also dreamed of the opposite: of escape, danger, adventure, sex and death. And the two collided and opened up chasms and sinkholes in the lost highway to happiness.

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