The movie is lurid melodrama, soap opera, exploitation, put-on and self-satire. There is something repulsive and manipulative about it, and even its best scenes have the flavor of a kid in the school yard, trying to show you pictures you don't feel like looking at. I do not think this is the best film that played at Cannes this year (wait until you see Depardieu in 'Cyrano') and, in fact, I do not even think it is a very good film.

Now comes 'Wild at Heart,' which won the Palme d'Or at this year's Cannes Film Festival, to great cheers and many boos, some of the latter from me. Lynch's 'Twin Peaks' is a cult hit on television. 'Blue Velvet' (1986) was hailed as one of the best films of the decade.

At the end of both ' Blue Velvet' and 'Wild at Heart,' I was angry, as if a clever con-man had tried to put one over on me. But as the movie rolls along, something grows inside of me - an indignation, an unwillingness, a resistance. I sit and watch his films and am aware of his energy, his visual flair, his flashes of wit. I am aware of it, I admit to it, but I cannot think my way around it. Plastic materialized Lynch’s relationship to history and the political, at once nostalgic for a past that never was and shrink-wrapped against the realities of the present.There is something inside of me that resists the films of David Lynch. Plastic named Lynch’s detached emotional orientation-cold, ironic, and insincere. The postmodern Lynch came prepackaged with its own theory of plastic, the ur-material in Lynch’s aesthetic of of depthlessness and superficiality, semiotic excess and cliche. The evolution of his filmmaking career-from the midnight-movie success of Eraserhead (1977), his astonishing first feature, to critical darlings like Blue Velvet (1986) and Wild at Heart (1990)-dovetailed with the academic consolidation of postmodernism, a cultural logic Lynch’s films came to embody for the likes of Fredrick Jameson and Slavoj Žižek, both of whom have written brilliants about Lynch.

In the Contemporary Film Directors series examination of Lynch’s work Nieland writes:ĭavid Lynch’s corpus has undergone its own plastic embalming. Inspired by the Twin Peaks-inspired fanzine Wrapped in Plastic, Justus Nieland author of the UIP book David Lynch, examines what he terms Lynch’s “plastic concept” of life. The director of films including Mulholland Drive (2001) and Dune (1984) and the tv series Twin Peaks (1990) is one of the most distinctive voices in American cinema. Filmmaker David Lynch was born in Missoula, Montana on January 20, 1946.

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