There is more mystery in two minutes of David Lynch’s Inland Empire than in all American films produced in the last 50 years.
The first films ever made registered like dreams with audiences, and they were made with that idea in mind.
Mystery. A priceless commodity which has no market.
I’m not talking traditional suspense, which depends on beginning, middle, and end, and clues sprinkled on the way to a satisfying resolution. That is organized mystery, a contradiction in terms. Continue reading