大衛(wèi)·林奇的全部作品

It's hard to say which of David Lynch's works is the craziest. A profound madness lurks beneath them all, from Eraserhead (1977), his trippy film-school debut, to Blue Velvet (1986) and the Twin Peaks TV series, all the way to Lost Highway (1997), Mulholland Dr. (2001) and Inland Empire (2006). Characters in Lynch films hover on the margins of reality, entering, through portal after portal, phantasmagoric dream worlds that are often as unsettling as they are hypnotic. Though Lynch runs a foundation that advocates a brand of popular meditation, there's little that's calming or stable about his vision. Beneath the thin sheen of daily life is an unfathomable, terrifying darkness. That, it seems, is what Lynch repeatedly tries to bring to light.

似乎很難從大衛(wèi)·林奇的片子中摘出一部“最”瘋狂的電影，因為他的每一部電影中都暗含著一種癲狂。無論是在電影學院小試牛刀并富有迷幻藥色彩的《橡皮頭》（1977），還是《藍色天鵝絨》（1986）、電視劇《雙峰》（1990），亦或是《妖夜荒蹤》（1997）、《穆赫蘭道》（2001）和《內陸帝國》（2006），這些片子都是無一例外讓人為之瘋狂。在大衛(wèi)·林奇的電影中，主人公在游走在現(xiàn)實的邊緣，通過各種不同的途徑被催眠般進入飄忽捉摸、令人心神不寧的夢境。盡管大衛(wèi)·林奇本人在運作一個倡導靜坐沉思的基金會，但在他的影像里似乎沒有任何冷靜和穩(wěn)固的東西。在光鮮的日常生活背后，隱藏的是深不可測、令人毛骨悚然的黑暗。而大衛(wèi)·林奇似乎要將這些東西暴露出來。