Inland Empire at IFC Center a while back
Repeated, extended movements through empty, darkened domestic corridors, a repeating image in Lynch's films, one which always feels to me like the perspective of a frightened child wandering through their parents house at night.
Swapping identities, sexual anxiety, temporal rearrangements, fear of poverty, doorways that, when you go through them, change the story radically, fairytale irreversibility, and the anxiety around the irrevocability of human action period, approached across the fault lines of a disturbed, radically subjective consciousness expanded into a sprawling imaginative environment.
The film was shot using a $2000 consumer digital video camera -- that is, it was created on a punk rock/poetry budget. The reduced production costs, and associated ease, flexibly and speed gave Lynch the ability to work with a freedom of pacing and conception I haven't seen in some time. Some of the technical disadvantages of the digital media are turned to advantages. One of the weirdest scenes in the film uses high contrast profile shot against a bright lamp and the chunky black digital distortion effect along the edges of the character's face calls attention to the media and the film's artificiality at the same time that it intensifies the feeling of otherworldliness and absorptive power of the scene. Not an easy move.