They Don’t Make ‘Em Like David Lynch Anymore

This article explores the enduring legacy of David Lynch, a filmmaker whose unique style has left an indelible mark on cinema. It begins by highlighting a pivotal scene from Twin Peaks, showcasing Lynch's ability to juxtapose mundane reality with unsettling undercurrents. This "Lynchian" quality, a blend of the everyday and the surreal, is the article's central theme.

The piece argues that "Lynchian" transcends simple stylistic descriptors like "Spielbergian" or "Scorsese-ish," instead encompassing a broader sense of unease and dreamlike disorientation. It's a feeling, a pervasive atmosphere, rather than a specific visual or narrative technique.

The authors recount personal experiences with Lynch's films, including a son's independent discovery of Twin Peaks, highlighting the timelessness and strange appeal of his work. The discussion then shifts to Twin Peaks: The Return, emphasizing Lynch's defiance of conventional Hollywood expectations and his unwavering commitment to his artistic vision.

The article contrasts Lynch's famously troubled experience with Dune with his more successful and personal projects, pointing out that even his "misfires" retain a distinctly Lynchian imprint. The unique imagery and unsettling atmosphere are discussed, citing examples like the infamous cat/rat milking machine from Dune.

The authors also acknowledge the beauty and emotional depth present in Lynch's work, using The Elephant Man as an example of his ability to create both touching and disturbing narratives. They stress the futility of trying to categorize his style neatly, while simultaneously emphasizing the unmistakable quality that makes a David Lynch film instantly recognizable.

The article uses Blue Velvet as a case study, highlighting how Lynch juxtaposes idyllic Americana with a darker, surreal underbelly. It touches upon the documentary exploring Lynch's relationship with The Wizard of Oz, suggesting the unique and now-lost confluence of influences in his work.

A poll is included, inviting readers to share their favorite David Lynch film.

The final section discusses Lynch's influence on subsequent generations of filmmakers, citing examples such as Jane Schoenbrun's I Saw the TV Glow, Yorgos Lanthimos's The Lobster, Robert Eggers's The Lighthouse, Ari Aster's Midsommar, and others. The article concludes by acknowledging Lynch's significance as a filmmaker who defined an era and whose influence will continue to shape cinematic storytelling.