Sharing here a David Lynch poster illustration for the art show and retrospective Dulces Sueños, David Lynch that occured on Saturday, May 3 in Fine Arts Miramar in Santurce, Puerto Rico. Wanted to share also the original rough and thumbnail sketch made for it. I am currently selling the poster, so if interested, please send me a private message for further details.

I had really nice time at the event. Loved the other works from the other artists and it was so great to meet and talk with some of them too along with other really cool folk. They also had a showing for Eraserhead later on that was packed with people. So nice to see so much love for David Lynch in Puerto Rico ❤️ I believe they decided to do another showing right after that one, which I went to. Always an incredible experience watching the film on the big screen. They also showed a short film of his called The Grandmother, which I loved and thought was perfect to put before the movie. They also announced they extended the showings of his films for June as well, which am excited to see!

Film is definitely an art, and yet, it seems to be distinct from other forms of visual art such as painting or sculpture.  Perhaps that is what makes David Lynch such a fascinating director, as he has the ability to tap into the surreal stimulus often found in the most famous paintings and transform it into brain-bending moments on film.  Whether it his fear-fueled fascination with fatherhood present in his debut film Eraserhead, his ruminations on Hollywood society present in Inland Empire, or any of the stopping points in-between, it’s safe to say that David Lynch sits in the rarified air of directors like Ingmar Bergman, Alejandro Jodorowsky and the other few who can turn film into something deeper, more visceral and more meaningful.

With one of the most unique collections of films credited to his name, including a couple of curveballs in the early portion of his career, ranking the films of David Lynch is as perplexing as it is entertaining... so, without further ado, we attempt to climb that hill.  I’m not even going to pretend that I can break down all of the symbolism and meanings of these films, but I can give my honest opinion about them.

10. Dune (1984) For a film that is supposed to be such a science-fiction gem, it’s a bit funny that nobody can seem to make a coherent, entertaining version of Dune.  After nearly 15 years in pre-production hell (and three iconic names attached to versions of the production), the film landed in the laps of Dino De Laurentiis and Ridley Scott, but after another extended period delaying production, Scott bowed out, leaving the door open for David Lynch to step in.  For what it’s worth, he did bring a huge list of names to the project, but the fact that the directing credit for Dune belongs to the throwaway pseudonym Alan Smithee should clue in any perceptive viewer that the project may not be one that Lynch cares to stand behind.

9. Inland Empire (2006) David Lynch isn’t the type of director that revisit ground he’s already covered, which is what makes Inland Empire (the seemingly final film from Lynch) such a confusing choice.  Had this film not been released after a five year gap between it and the stellar Mullholland Drive, another film that focuses on the dark underbelly of Hollywood, fame and the tolls of the acting craft, perhaps it would hit a little different to me.  That’s not to say that the film isn’t good, as it is definitely a slight adjustment from the style that Lynch basically trademarked, but when a director like Lynch experiments on what feels like general principle, it makes experiments that feel like a step backward lose impact.

8. Lost Highway (1997) Technically, you could count all of the Lynch “mystery” films as noir in some capacity, but Lost Highway feels like a direct skewing of what we know as the traditional noir structure.  At its core, the film is a simple murder mystery, but it doesn’t take long for the Lynch signatures to begin appearing in every form from a mysterious, unnamed character to our protagonist literally changing into another person with no base explanation provided.  Perhaps the latter choice was a look into split personalities and the disassociated nature that can come with brutal crimes... as I said before, I’m not here to try and decode the David Lynch mystery.  While Lost Highway serves as a good entry point into the David Lynch catalog, it sits on the back half of the rankings due to no fault of its own... it’s more of a situation where the other mysteries are so stellar, that even the strange seems simplistic by comparison.

7. The Straight Story (1999) If you played a game of “one of these things is not like the other” with the films of David Lynch, it would not be difficult to make a winning choice, as The Straight Story is clearly the most accessible and standard of all the Lynch fare.  What the film lacks in oddness and style, however, is more than made up for in terms of heart and performance.  The use of a lawnmower as the main source of travel allows for some beautiful landscape cinematography, and the sheer force of will exhibited by Richard Farnsworth pays off in spades when he is reunited with Harry Dean Stanton.  If you’re looking for something creepy, eclectic and mind-warping from Lynch, there are plenty of other films to choose from, but if you are looking for an excuse to shed a tear or two, this is the film for you.

6. The Elephant Man (1980) It’s funny to think that if not for The Straight Story, the Joseph Merrick biopic The Elephant Man would serve as the most normal film of the Lynch canon.  This sophomore film dialed back on the abstractions present in Eraserhead, but it brought some extraordinary makeup and costuming to the table, not to mention it gifted viewers with a powerfully moving performance from John Hurt.  Though memorable in its own right, the film really made its mark by tying Raging Bull at the 53rd Academy Awards, garnering eight nominations (and sadly losing in all categories, going home empty-handed).  The backlash for the Academy’s lack of giving The Elephant Man special praise for its makeup effects also led to the creation of a Best Makeup award for the Oscars.  It is quite possible that the combination of shock from Eraserhead in tandem with the skill and prowess shown in The Elephant Man opened all of the creative control doors for David Lynch, as not even Dune could derail his career and artistic oddness. 

5. Blue Velvet (1986) While Twin Peaks is where I first heard the name David Lynch, it was Blue Velvet where I first got a taste of why Lynch was held in such high regard.  The suburban paradise presented in the opening credits is immediately shattered by the discovery of a random ear, and the weirdness rabbit-hole gets deeper and deeper from that point on.  The classic look of the film stands in powerfully beautiful contrast to the extreme darkness of the narrative, and Dennis Hopper turned it all the way up to 11 for his performance in the film.  If Lost Highway serves as the best introductory film for those curious about Lynch, then Blue Velvet serves as a good midpoint to determine how much weirdness, abrasiveness and shock you can handle in a Lynch film.

4. Mulholland Drive (2001) I really and truly do not know where to begin with this insane rollercoaster ride of a film.  The first time I watched this film, I thought I had everything figured out, every mystery solved and every bait and switch identified, but upon repeat viewings of Mullholland Drive, I’ve determined that I either had a brief moment of harmonic brilliance or I was fooling myself.  The film makes sense at its root, if really and truly dissected, but when taken at face value and in real time, it’s almost impossible not to get completely lost in the sheer immersive nature of everything thrown at you.  Naomi Watts is brilliant as the viewer guide through the film, and it’s good that she is so powerful in her lead role and guiding task, because Mullholland Drive is not afraid to get downright bonkers on more than one occasion.  While films about the trappings of Hollywood and stardom are nothing new, I’m hard pressed to think of another film that approaches these in a manner even remotely close to that of Mullholland Drive. 

3. Wild at Heart (1990) Quite possibly the most enjoyable of all the David Lynch films, despite some downright brutal moments of celebratory violence sprinkled throughout.  The combination of Nicolas Cage and Laura Dern is nothing short of electric, and the presence of Willem Dafoe as antagonist is the perfect spark to ignite an already volatile mixture of leads.  The energy level of this film starts on ten and only continues to rise as the film progresses.  If/when I ever get the chance to program theater showings, I am putting this film on a double bill with Natural Born Killers immediately.  While I can’t say that Wild at Heart is my favorite David Lynch film, I can say without a shadow of a doubt that it’s my favorite Lynch film to gush about with other fans.

2. Eraserhead (1977) More often than not, directors the caliber of David Lynch have stunning debut films to their name, and Lynch certainly exploded onto the scene with a gamebreaker in the form of Eraserhead.  Upon first viewing, there is enough “WTF?!” going on to confuse most people, but for those brave enough to watch the film more than once, it becomes painfully obvious that all of the madness and shocking imagery on display is a clear metaphor for Lynch’s fear of fatherhood.  The simple act of taking a fear that resonates with most humans and turning it into the equivalent of a black and white bad drug trip works perfectly, and Jack Nance’s iconic look and performance are almost recognizable enough to know without knowledge of the film.  Eraserhead is one of those films that leaves you different than you were prior to watching it.

"I don't think that people accept the fact that life doesn't make sense. I think it makes people terribly uncomfortable." David Lynch

Happy birthday, David Lynch!