Finally it has arrived. Finally cinema's importance has been justly recognized: its cultural contribution, its reason for being.
At long last, returning to the cinema makes sense. Otherwise, we would have to stay at home, watching serial TV, made in the USA but much more grave and meaningful than the majority of those American films which our movie theatres obstinately emit, emulating the worst televised broadcasts.
David Lynch has succeeded in bringing back sense to cinema with his INLAND EMPIRE, a work devoid of just one sense, one direction, on story, which confronts itself with those many senses, many directions and many stories with which cinema, our "interior empire", nourishes itself. The fabric of INLAND EMPIRE is a tightly woven web of neuromuscular joints, not at all a formless delirium.
The heart of the film, the interior empire through which we journey, is cinema itself.
A prism which can reflect, duplicate, sound any phenomenon. The incredible and genial stylistic daring of the film, the first to fully understand potential of digital cinema, cinema which follows the intimate contiguity with life, places us in front of an indistinct flux of mobile time-sections, collected around a prismatic heart in which dwells the human tangle of a woman, the female who, by tradition as well as biological and symbolic role, is always twofold, generating in her turn other infinite stories.
A treatise on cinematographic space and time, an evoluted, fundamental work, INLAND EMPIRE now bursts upon the scene in Venice, for the second time after the Exposition.
Also to be mentioned, and one cannot exaggerate as to its qualità, is Barry Lyndon.
Two days will be dedicated to this incommensurable film, in order to bring out the relations between the novel and the movie.
The first part will be at the Candiani on the first of the month, the second part on the 2nd at the Auditorium S. Margherita.