Lynch/Oz (Fantasia 2022 Film Review)
3 min read
Still Courtesy - Dogwoof
A man casually referenced in biblical tongues in nearly every conversation revolving around contemporary American cinema, David Lynch is a filmmaker notoriously known for his iconography of the Americana. The mere mention of his name sends film festival programmers into an abyss of debate; a shiver of intrigue. At this year's Cannes Film Festival, a scandal revolving around a wide-spread false rumour about a new Lynch production caused a stir for major publications and even festival representatives. On the other side of the coin, many have attempted to tackle Lynch's oeuvre with their own unique lens. David Lynch: The Art Life is a particularly hypnotic portrait on the 76-year old's artistic process. When tackling Lynch, it's essential to be timely and specific. In the case of Alexandre O. Philippe — a documentarian prominently known for his hyper-detailed dissections of cinema — the Swiss director analyses the work and legacy of Lynch through the framing device of the classic American film ‘The Wizard of Oz'.
Lynch/Oz opens with a traditional six-part analysis on the work of David Lynch; whilst evolving into an alluring piece about the empowering connectivity of visual-semiotics. O. Philippe presents six unique testimonies from six industry delegates. Each chapter highlights a different perspective and view on Lynch's filmography. We listen and observe auditory recollections from Amy Nicholson, Rodney Ascher, John Waters, Karyn Kusama, Aaron Moorhead, Justin Benson, and David Lowery; with each chapter numerated with a distinct topic. Titled with cryptic words such as Wind, Membranes, Kindred, Multitudes, Judy, & Dig — O. Philippe's ominous structure hints at an alluring parallel between film & the subconscious. Akin to Lynch's indirect influences from Victor Fleming's The Wizard of Oz, the chapters replicate and reiterate his personal views on the uncharted infinite of cinema.
The chapters are essential; each providing unique commentary from different walks of life. Ascher's testimony is admittedly meandering — a speculation-heavy sequence which drags and cheapens concepts & superstitions with indistinct aimlessness. Kusama, Lowery, & Waters easily steal the show with their own personal implementation of memory; recounting their experiences with Lynch and his obsessive fascination with the American Dream. Lynch/Oz is a vibrant portrait on the practice of film-viewing; the inter-connective tissue which combines image and memory into a delicately crafted video-essay. O. Philippe's approach is distinctly minimalist; to create greater thematic impact. The montage-heavy sequences are aptly assembled — edited to meet the standards of the viewer's dwindling attention span.
At its emotional peak, Lynch/Oz unveils a new concept to the viewer through David Lowery's own personal experiences with filmmaking and his work on Pete's Dragon & A Ghost Story. O. Philippe‘s film is ultimately a celebration of images; a dissection of 20th century iconography told through multiple engaging framing-devices. The film ends with a montage of influences; a sequence compiled with shuttering visual motifs from various famed auteurs and their recurring mania. We delve into a rabbit hole demonstrating samples of work from Kar-Wai, Hitchcock, Campion, Antonioni, & Kiarostami. O. Philippe‘s hints at the transportive whirlwind of a new Wonderland, a new world of Oz through the power of cinema.
