Now my mind is clear enough to try to say something about this incredible work.
The impression, after my first view, is that i've seen something revolutionary, that moves the limits of modern cinema. Concretely.
We are in front of a deep reflection on the nature of the view and the power of eyes: no difference between interior or esterior view, here there's a game that has its own rules. Is the coerence of an EMPIRE, the one of the mind, that is a land of strongness and will of powerful that fights with desires, pulsions, regrets. Maybe it's useless, here, to talk about coerence. It's not illogic, it's "au delà" that logic, is another logic. Lynch has created a world that is OUR world, but we can't see it, or we don't want to see - cause looking through yourself can be the worst torture. Its a cruel hand the Lynch's one, in this film more than in the past ones. It searchs for the origin of consciousness and desires, without all the accidental plays of time and space. It's unbelievable how in this work the time, in particular, is completely destroyed. Not at all a question of a technich expedient, it's really annihilited. And this permits a free point on view, sadic and without respect. Like the camera that is hidden everywhere in the film and deletes the limit between film and life. There are so many levels of reading in this film, I can't talk about everything now because is too much soon - it's like a good poem, like Eliott says: you have always to return to it, and is never enough..... Just for saying something about the aesthetic aspect: the decision of filming in DV (in the new HD era) with a consumer camera, a Sony PD-150, was suprising, but it's possible to understand why, now. The quality of the images, with the low-resolution, its the land of the possibility, leaves the spectator in the position to dream and add something to them, with his imagination. The level of the photography resumes all the coolest things that we have seen on Lynch's works, specially Lost Highway and Mulholland Drive. Each shot could be a paint, is conceived to be this, it's Lynch's attitude - from the colours, to the light, to the design and the set's decorations. Last observations: everything is mixed up with a monumental work on the sound, from the soundtrack to the sound effects. And Laura Dern, fuck, she has done the performance that maybe she was desiring from years. I think is enough, for today.