David Lynch’s Advance Memory

For the well-informed, David Lynch’s death did not come as a surprise but it was still premature. This exceptional auteur of the end of analogue and the beginning of digital film, however, himself pre-determined the memory of him. In his films, he represented imagination by suggesting its reality and represented reality by suggesting its imaginariness. In a large part of his oeuvre, which consists of short experimental films, feature films, TV series, video installations and paintings, Lynch presented a film thought that transcended the limitations of cognition and sank in the ontological paradox of the part-whole relation. The mysteriousness in the spaces between discontinued narrative fragments is the constitutive element of his atmosphere as an expression of film form. Still, Lynch should not be understood only as an aesthete of a renewal of sublimity, for we can find in his film reflections a well thought-out critique of society and resignation in view of the generation of evil from the internal structure of intersubjective relationships.

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