We get an all-access pass to watch the master at work, both on location and at his home-workshop-studio in Los Angeles. Those who aren't part of the filmmaker's substantial cult will be less intrigued.
Filmed over a two-year period during production of David Lynch's Inland Empire, Lynch, like the feature it loosely chronicles, has no immediately discernable throughline and a wide variety of video-image densities.
Although fractured by the various film processes and a mix of DV and 8-mm used by the bio's director, it's actually a tightly edited, formalist movie, which in itself explains a lot about Lynch as the non-narrative filmmaker extraordinaire.
as well as offering fascinating insights into the working practise, philosophy and idiosyncrasy of Missoula, Montana's most famous Eagle Scout, LYNCH (one) is a work of strange and elliptical beauty in itself.
What really keeps Lynch interesting is its coverage of the production process; the access is so intimate, we feel as if we are witnessing firsthand the birth of something artistic and significant.
Of all the modern film directors out there, David Lynch is one that would seem to be a great subject for a documentary. You'd certainly be right to assume that, but the picture at hand fails because the makers of the documentary have nowhere near the creativity and imagination of their subject.
The bulk of the
documentary follows David Lynch through the early stages of filming his film Inland Empire. It shows some of his day to day workings as well as some of his photography and paintings.
It is interesting enough to watch, but doesn't dig nearly enough. It merely points the camera in Lynch's general direction and doesn't evoke any emotion or investigate the depth of his creativity. David Lynch is quite a character and deserves a much better film about him...
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