David Lynch taps into a weirdness flowing throughout cinema history.
Melancholy memories are no strange subject for David Lynch, even in the first iteration of Twin Peaks. But with Twin Peaks: The Return, expertly reviewed by my predecessor Perry, Lynch found more depth than was previously allowed these sad, hopeful, isolated characters.
For Mubi, Adrian Martin and Cristina Alvarez Lopez compare Lynch and Mark Frost’s TV return to various films from the 1960s. It’s not hard to understand the temporal association, what with Twin Peaks existing in a seemingly untouched replication of ‘50s and ‘60s diner-loving Americana. But the fears are just as disgusting and weird as the cinema of that period was just beginning to express.
Those films are those suspicious of their neighbors, suspicious of their bodies, unsure of the humanity of anyone but themselves. Lynch is able to explore this through the texture he creates in Twin Peaks: The Return of a scattered collection of memories.