Justin Chang on David Lynch, who died at seventy-eight, and how his movies—such as “Mulholland Drive” and “Inland Empire”—influenced the Los Angeles filmgoing community.
For weeks, Lynch’s film had haunted me like nothing else. It was dark and funny and sexy and intoxicating—a dream that followed me out of the theatre and into my waking reality, and a picture that obliterated, and then thrillingly restored, my understanding of what movies could do. For a nineteen-year-old burgeoning cinephile whose idea of nonlinear storytelling had been shaped by Quentin Tarantino, it was astonishing to see a filmmaker so fluent in the poetry of the irrational.
His films delighted in collapsing the city’s past and its present together, in discovering cultural and architectural vestiges of an older Los Angeles tucked in among the city’s newer façades. It’s significant, I think, that all three of Lynch’s L.A.-set movies are so rooted in convulsive games of identity: think of Fred the saxophonist morphing inexplicably into Pete the auto mechanic in “Lost Highway,” or Laura Dern shape-shifting at will in every other scene of “Inland Empire” .
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