Lost in the Movies (formerly The Dancing Image): November 2017

Friday, November 17, 2017

Last Words? - discussing The Final Dossier w/ Twin Peaks Unwrapped (+ another status update)


For the first time in two and half months - and perhaps the last time ever - I can provide fresh coverage of brand new Twin Peaks material. I bought The Final Dossier in the evening of October 31, braving Halloween traffic to pick up a copy ordered from a local bookstore. Late that night, ten minutes before midnight to be exact, I opened it up and began to read. When I finished it a mere two and half hours - this was a stunningly quick read - I was wiser to this universe, and a year older (well, sort of; November 1 was my thirty-fourth birthday).

I found the book refreshing and shared some initial thoughts on Twitter, beginning with this tentative prediction: "I don't think we've seen the last of Twin Peaks." A week or two later, I recorded the following discussion with Twin Peaks Unwrapped, paired with an equally long conversation they held with John Thorne.



As for other plans...


Monday, November 13, 2017

Fear The Double: discussing Lost Highway w/ Fireside Friends podcast (+ "5 Weeks of Fire Walk With Me" status update)


This weekend I was invited as a guest onto Fireside Friends, hosted episode by Ryan Persaud and Allen Ibrahim. Under discussion was Lost Highway, a film I'd been meaning to rewatch ever since The Return ended. In the wake of the Harvey Weinstein scandal, and similar cases emerging from Hollywood almost daily, the film felt particularly relevant. We talk about this aspect of the work, as well as Mary Sweeney's editing of the film, its ties to season three of Twin Peaks, its roots in Fire Walk With Me, the convolutions of its narrative, and its relationship to the O.J. Simpson trial and the avant-garde classic Meshes of the Afternoon (referencing my video essay on the subject). And, on a lighter note, Lynch's propensity for absurdly decadent party scenes, with requisite reference to Crazy Clown Time.

Listen to Fireside Friends

In other news, I was not able to keep up with even my back-up schedule for "5 Weeks For Fire Walk With Me." I do plan to continue publishing those pieces, however, although I'm not sure if I'll try to squeeze them all in before the original deadline (releasing two or three in a single week) or spread them out into December, rendering the title of the series as "5 discreet weeks over a long period" rather than "5 weeks in a row." Oh well - stay tuned for those, and also another recently-recorded podcast in the next few days...

Friday, November 3, 2017

Fire Walk With Me belongs in the Criterion Collection


This is an entry in 5 Weeks of Fire Walk With Me. Next week I will discuss the history of the movie's production, reception, and legacy.

What is this movie? Is it a movie at all? Of course it is, and attempts to claim otherwise dissolve into babbling mystification. Yet they persist - primarily because the TV show which Fire Walk With Me descends from remains more legendary than the film but also because the film itself is so abrasive and overwhelming that it makes sense to retreat into the most convenient explanation: this is a TV spin-off and, good or bad, it can only be appreciated in relation to the series. Furthermore, many viewers, probably a substantial majority, reach Fire Walk With Me after watching two seasons of a surreal soap opera, so it's difficult for most to disentangle their knowledge of the show from their experience of the film even if the relationship is subversive rather than complementary. In a few weeks, I'll write about Fire Walk With Me both as a component of a larger story and as a standalone film (or perhaps several: a lucid psychodrama, a formally hypnotic art film, a hybrid slasher/American giallo/psychological horror flick, an entry in David Lynch's own unique bigger-than-life - and certainly bigger than TV - filmography). For now, I don't merely want to isolate Fire Walk With Me from Twin Peaks but to explain why it can stand side by side with the other titles in the Criterion Collection, which it officially joined two and half weeks ago. Fire Walk With Me needs defending not just for its place within a saga, or even as a bold rejection of that saga defined precisely by said rejection (still therefore dependent on what it negates), but as a movie movie, a piece of cinema history valuable on its own filmic terms.