Atreus
Snake Plissken
A esa gente le preguntaría qué les hace pensar que la Logia sólo tiene un pasillo y en una dirección...
Me inquieta mucho y no sé por qué ese plano de la señora Palmer en el super, quizá por la mezcla de lo que sabemos del personaje (y la vida que debe haber llevado todos estos años, recordemos que su última aparición si no recuerdo mal ni siquiera era "ella") sumado a la pinta de loca de los gatos que tiene la actriz (ya usó Lynch ese lado extremo en Corazón salvaje).
Park Chan-wook, a pretty Lynchian director himself, once told me in an interview, the most important relationship in a movie by a true artist is not between any two characters, but between the film and its viewer. With Lynch, the relationship is complicated, to put it mildly, and there are times when his work is frustrating for what feels like no clear reason. In his expressionist or surrealist works — a description that covers pretty much everything but The Elephant Man and The Straight Story — you never know why he’s doing things, where it will lead, if in fact it will lead anywhere, and if he’s just messing around. He’s so opaque when he wants to be that you can’t be sure if he’s driving aimlessly or if he knows his destination and exactly how he’ll get there.
We tell ourselves we’re all right with shows like Twin Peaks and artists like Lynch because hating everything that’s not a meat-and-potatoes linear narrative with traditional bits of foreshadowing and callbacks and payoffs is square, and nobody wants to be a square, daddy-o.
But the truth is, whenever any otherwise compelling popular TV artist throws us a truly startling curveball — as the creators of The Sopranos,Lost, and Battlestar Galactica did — the tendency is to proclaim that it was pretty good until it “jumped the shark” or “shat the bed” or otherwise stopped being good.
And when it becomes clear that a series isn’t terribly interested in narrative housekeeping, and in fact has to remind itself to give a damn about that kind of thing, the popular audience tends to run the other way, because they don’t know how to process it. Even now, shows tend to be a lot neater and clearer and less intuitive than Twin Peaks. Even when they’re weird, they’re weird in a way that you can process and document, like Stranger Things, or shrug off as spectacle, like American Horror Story.