, who was born in Switzerland and is based in Denver, has carved out a neat niche for himself. He makes movies about movies — that is, movies about our obsession with movies. He shares the obsession, and as a filmmaker that allows him to overlap the role of superfan, critic, and historian in a way that’s candy for a certain breed of film freak.
In “Lynch/Oz,” Philippe essentially gives the movie over to the seven writers and filmmakers he has chosen to explore the interface between Lynch’s disarmingly concrete dream logic and the fairy-tale backlot kitsch surrealism of “The Wizard of Oz.” Each of the essayists delivers, in voice-over , a 15-to-20-minute digressive rumination on the subject at hand: what they love and respond to in “The Wizard of Oz,” what they love and respond to in Lynch, and the places where the two intersect.
And there are broader motifs, like the unfolding worlds within worlds, or the way the evil characters in Lynch’s movies seem tojust as the Wicked Witch of the West or the skull-headed smoky-pipe-organ projection of the Great and Powerful Oz loomed over Oz. And there’s the primal innocence that binds the nightmare elements of both Lynch and “The Wizard of Oz.
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