David Lynch's first film since the award-winning "Mulholland Drive" is a complex Hollywood mystery which blurs the lines between fantasy and reality.
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David Lynch drama. Lynch breaks a long silence with a challenging piece of cinema about an actress going through some psychological trauma on the set of her latest film. Laura Dern plays Nikki Grace - an ingénue actress whose latest role - in a Tennessee Williams-esque fright of a film tests her to her limits. The director Kingsley Stewart (Jeremy Irons) is a cloying, creepy character. Grace is falling for her co-star Devon Berk (Justin Theroux) but if that was the central plot, this wouldn't be Lynch-land, would it? A parallel storyline shows an earlier attempt to make this film in Poland which ended in tragedy when the two lead players were offed. It's just shy of three hours of David Lynch at his eccentric, unpredictable best.
With INLAND EMPIRE, David Lynch--creator of such mind-bending works as ERASERHEAD and LOST HIGHWAY--delivers his most avant-garde, abstract, and impenetrable vision yet. A three-hour fever nightmare of a film, INLAND EMPIRE takes the basic structure of Lynch's 2001 masterpiece, MULHOLLAND DRIVE, and spins it even further out of control. A blonde actress (Laura Dern) is preparing for her biggest role yet, but when she finds herself falling for her co-star (Justin Theroux), 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. And that's the only the beginning. Soon, a seemingly endless onslaught of indescribably bizarre situations flash across the screen: a sitcom featuring humans in bunny suits, a parallel story set in a wintry Poland, a houseful of dancing hookers, screwdrivers in stomachs and much, much more. By the time the film's electrifying closing-credit sequence arrives, even diehard Lynch fans will be gasping for air. Laura Dern's multi-fractured performance is downright heroic. She gives the film the human grounding that it so desperately needs. Not for the fragile or timid, INLAND EMPIRE is a full-blown assault to the senses.
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