It's all about meditation. The "Deep Water" of David Lynch

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When we talk about cinema it is always difficult, perhaps impossible to make rankings, to determine beyond any reasonable doubt which are the best films, the best actors or the best directors.
A huge effort that should take into account an infinite number of films, characters and filmmakers first and foremost, and for each of them it would be necessary to evaluate too many things that are difficult to objectify, from the historical scope of the film to the technical field, from dialogue to individual facial expressions, from photography to editing, from the script to the effect of that film on the minds and souls of the spectators.

A titanic feat in short.

Fortunately, however, there are artists who manage to facilitate the work of the critics thanks to their peculiar genius, their originality and stylistic feature that makes them unique, unmistakable, true unicorns in the history of cinema, who avoid schematization, standardization and ranking.
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One of these is, beyond any reasonable doubt, David Lynch.

The director of Missoula, on the threshold of 73 years, is today considered a unicum in the cinematic panorama, thanks to his films, of course, but also thanks to his method and his overall vision.

According to the director himself, his creativity has been influenced by transcendental meditation, a practice that for over 30 years without ever missing a session, he typically practices at least two a day, once in the morning and once in the afternoon for about twenty minutes.

Lynch defines this experience as the only one in the world for which the adjective indescribable should be used.
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During these "dives" within oneself, the consciousness dilates, managing to open one's mind immeasurably, clutching oneself to millions of possibilities that had always been there but which without that deep perception of our ego, of our world, would have been impossible to grasp.

One of the most famous comparisons that the artist from Missoula loves to make when talking about transcendental meditation is the one between ideas and fish, water, a comparison that he explains very well in his book "Acque Profonde".

Ideas are similar to fish.
If you want to catch a small fish, just stay in shallow water.
If you want to catch a big fish,
you have to go down into deep water.
Down there the fish are stronger, they're purer.
They're huge and abstract.
Really beautiful.
Anyone who's seen Twin Peaks, Mullholand Drive, Inland Empire, Lost Highway, Eraserhead and all the other David Lynch masterpieces will have no trouble believing the director's words.
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No one more than him, in fact, has tried to dig into the human mind, showing the impossible, showing the unknown and always and only writing non-linear scripts, not immediately comprehensible but which tried, precisely, to dilate the very consciousness of the story, as if the story was something self-conscious that should, therefore, flow freely in search of its own self, its own meaning.

Nothing that has produced Lynch's mind is even remotely comparable to something seen before, and perhaps we shall never see works of such complexity and audacity in the future.

For Lynch, a film must be pure and untouched.

He himself confessed that he does not like the extra content on film DVDs as it would be a contamination of the film itself.
Every film must be interpreted, loved, hated and understood in a unique way by every viewer.

It is the film, and only the film, that must communicate, that must express itself.

That's why we don't need words, comments or statements to corollary it but only a TV, maybe a pair of headphones and a few hours of total immersion in the film, just as if it were a meditative practice.

Lynch loves the French, he loves their way of thinking about cinema because he is on the same wavelength as the director of Twin Peaks.

He thinks that no one should ever invade the field of the creator of a film. Just as a painting is painted from top to bottom by the painter who brushes it, so too a film should be born from the director's mind from top to bottom, without interference, deciding how to edit it, which soundtrack to use, how long it should last and what to show.

Total freedom, just as if you were in an ocean, in free and deep waters, learning to know yourself and capturing every idea as if it were the best possible.

If you love cinema and you don't know David Lynch, take cover, maybe you'll hate him, maybe you won't understand his films but you'll be dismayed and at the same time fascinated by his unique style and poetics.



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