Inland Empire

Inland Empire

4.6 8
Director: David Lynch

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Cinema of the surreal icon David Lynch follows up the success of his critically acclaimed 2001 feature Mulholland Drive with this dark mystery, shot on a handheld Sony PD150 digital video recorder. It is the tale of an actress whose personality becomes increasingly fragmented as she delves ever deeper into her work for a…  See more details below


Cinema of the surreal icon David Lynch follows up the success of his critically acclaimed 2001 feature Mulholland Drive with this dark mystery, shot on a handheld Sony PD150 digital video recorder. It is the tale of an actress whose personality becomes increasingly fragmented as she delves ever deeper into her work for a high-profile filmmaker. Kingsley (Jeremy Irons) is a director looking to adapt for the screen a Polish gypsy folktale that was previously stalled when the two leads were viciously murdered. Having offered the female lead to devoted actress Nikki (Laura Dern), Kingsley warns her male co-star, Devon (Justin Theroux), to maintain his professional distance, as Nikki's husband (Peter J. Lucas) is known to be notoriously possessive. As the passionate co-stars quickly cross the line and become lovers, Nikki's slowly slipping sense of reality causes her to eventually become lost in her character while the mysterious story of a Polish couple unfurls, and a trio of giant stage-bound rabbits (voices of Naomi Watts, Scott Coffey, and Laura Harring) lounge around on the sofa and tend to their domestic duties. Shot over the course of two and a half years and without a formalized script, Lynch's hallucinogenic look at a doomed film project features all of the abstract imagery and strange symbolism that have long made the director a favorite of film fans who embrace his disorienting approach to unconventional storytelling.

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Product Details

Release Date:
Original Release:
Rhino Theatrical
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Special Features

More things that happened; Ballerina; Lynch 2; Quinoa; Stories; Trailers; Stills

Cast & Crew

Performance Credits
Laura Dern Nikki/Sue
Jeremy Irons Kingsley
Harry Dean Stanton Freddie
Justin Theroux Devon/Billy
Terryn Westbrook Actor
Julia Ormond Actor
Peter J. Lucas Actor
Grace Zabriskie Actor
Ian Abercrombie Actor
Diane Ladd Actor
William H. Macy Actor
Karolina Gruszka Actor
Krzysztof Majchrzak Actor
Mary Steenburgen Actor
Nastassja Kinski Actor
Laura Elena Harring Actor
Naomi Watts Voice Only
Scott Coffey Voice Only
Leon Niemczyk Actor
Piotr Andrzejewski Actor
Nae Actor

Technical Credits
David Lynch Director,Editor,Producer,Screenwriter,Sound/Sound Designer
Jay Aaseng Associate Producer
Jeremy Alter Co-producer
Angelo Badalamenti Score Composer
Karen Baird Costumes/Costume Designer
Heidi Bivens Costumes/Costume Designer
Erick Crary Associate Producer
Laura Dern Co-producer
Johanna Ray Casting
Odd Geir Sæther Cinematographer
Sabrina S. Sutherland Associate Producer
Mary Sweeney Producer
Christina Wilson Art Director,Production Designer
Wojciech Wolniak Art Director
Marek Zydowicz Executive Producer

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Inland Empire 4.6 out of 5 based on 0 ratings. 8 reviews.
Anonymous More than 1 year ago
Guest More than 1 year ago
Inland Empire is pure, unfiltered David Lynch, no bones about it. Perhaps his most surrealistic work since Eraserhead, and certainly his most disturbing since Fire Walk With Me, Inland Empire is essentially a series of loosely related setpieces based on ideas that Lynch has been stewing over for the past five years. From an artistic standpoint, the film is visually stunning and genuinely frightening at moments, and is successful in establishing the overall mood that Lynch was going for. Unfortunately, the only real problem with the film is its length. Sustaining the viewer's interest for three hours is no small task for any film, much less one as impenetrable or "out there" as this, and the film's impact ultimately suffers for it. It could easily be trimmed by 30-45 minutes and would probably be the best thing Lynch has ever done. Even so, it's still a very cool flick and a very interesting watch. Check it out.
Guest More than 1 year ago
With INLAND EMPIRE, David Lynch has again succeeded in doing what he does best: surreal, abstract cinema that challenges viewers to think outside the box and re-think what films should be like. Most non-Lynch fans complain "in regards to most of his movies" that they are non-sensical or even absurdly stupid because of his habitual throwing away of linear story lines. However, those who appreciate him realize that this is done to keep his films fresh, his ideas imaginative and his audience enthralled. With INLAND EMPIRE, he does this in an unparalled manner. Filmed entirely on DV it is a jarring, haunting and exciting journey into the mind of a woman "Laura Dern" who has, along with us, become lost in it. We spend most of the movie trying to figure out who and what are real and which are parts of the movie she is filming. Brilliant work from Lynch, Dern and all involved.
Guest More than 1 year ago
As a longtime David Lynch fan, I had been wanting him to make a film that was more unhinged than his previous works, more obtuse, and generally darker. Well, I finally got my wish and boy, did I get it. I was initially excited to see a favorite director jump into an exciting new technological realm "the world of digital video" and working with out a safety net "or a script for that matter" so late in his career. Frankly though, INLAND EMPIRE is a mess. Though it isn't without some amazing scenes and moments, there are still plenty of problems with this film. No matter what Lynch will say, the PD-150 is a passable low grade video camera at best. The image is murky and just not pleasant to look at. Plus, Lynch leaves the auto-focus/auto-iris features on his camera. He has explained that he liked having the camera do all the work so he can stay trapped within the world of the characters and the scene. The downside is it takes the viewer out of the mood and ambience by constantly reminding us of the cheapness of the technology. And it seems for every surreal, wonderful scene there is another that feels like a failed film school project. Laura Dern is nothing short of stunning as Nikki, the emotionally damaged woman we see recreated into a variety of different personas throughout the film. But other actors seemed impossibly wooden, especially the strange troupe of hookers/suicide girl types that pop up far too often in the film. Lynch revisits virtually most every major theme and motif from his canon. One can't help but feel like the director is trying to make a grand, definitive statement with INLAND EMPIRE. But at times it feels more like shallow retread of his previous work. For example, the "climax" of the film has a emotional, faux Julee Cruise song and plenty of Laura Dern bathed in bright lights and smiling a 'la the severely under-rated Twin Peaks: Fire Walk With Me. However unlike Twin Peaks, the characters are underdeveloped, rendering the ending fairly meaningless. It feels no different than a Hollywood film cueing us with familiar sounding scores to elicit an emotional reaction. The DVD extras are extremely generous, making this a worthwhile purchase either way. There is over an hour of deleted scenes "that are as equally as engaging and frustrating as the film itself", stories and anecdotes about the project from Lynch, a short film, trailers and hilarious, creepy segment where Lynch teaches you how to cook Quinoa. It has to be seen to believed. Plus, there's a 30 minute preview of an upcoming documentary feature about the making of Inland Empire that might actually be more interesting than the final project itself. Overall, if you're a fan of David Lynch or experimental cinema this is a must own. Especially at the price. This may be the beginning of a new working method for Lynch that yields some interesting results and in that respect it's fascinating. But the film is probably just too frustrating and dense for the casual movie-goer.
Gonzo84 More than 1 year ago
I'm a big fan of David Lynch and as I stumbled upon this DVD a year or so ago, the images he creates are still stuck in my head. The film, which is quite a lenthy feature, explores the reality of an actress (Dern) as she starts filming a cursed film. This is when "reality" starts shifting and her world is flipped into a hellish dreamscape, where not only does she not know, but as for us the audience, whether she's in a dream or is she in the real world. There isn't any real center to the plot/story, but that was Lynch's intentions. Lynch put this film together accidentally by starting out with just a few short films and after a bit of pondering, he started putting different scenes that had nothing to do with one another together and he ended up with a strange and wild story. This is the first time that Lynch has shot with a Digital Camera and after this film, he states that from now on he will ONLY be using Digital. After seeing this film, I can see why. The editing is superb and is by far his greatest visual feature. So if you're looking to get scared out of your bootstraps and don't want to leep for the next month, then take a look into Lynch's latest "Alice In Wonderland" type Nightmare.
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