Today marks what would have been David Lynch’s 79th birthday, and I find myself reflecting on my complex relationship with his art. It’s a mix of admiration, fascination, and, at times, frustration.
When Twin Peaks first aired, I was captivated by his vision. I was obsessed with its surreal mystery and haunting charm. Similarly, Lost Highway immediately resonated with me, becoming a film I’ve loved since my first viewing (and that I included in our Underrated Movies We Recommend book).
Yet much of Lynch’s work fascinates me even if it doesn’t fully win me over. Movies like Wild at Heart, Blue Velvet, and Mulholland Drive are undeniably compelling. I deeply appreciate their atmospheres, but they often walk a fine line between immersive “vibe movies” and coherent narrative storytelling.
However, I also feel that Lynch sometimes indulged his most esoteric impulses too freely. While I agree this approach can create non-narrative, impressionistic “film art,” akin to abstract or surrealist painting, Lynch’s attempts didn’t always work for me. That same ambition produced his most acclaimed work, Eraserhead, but also what I consider his weakest, Inland Empire. (Those infamous rabbit scenes—what was the point?)
This tension came to a head with Twin Peaks: The Return, which fractured my relationship with both the series and Lynch himself. The original Twin Peaks thrived as a collaboration between Lynch and Mark Frost. While Lynch’s fever-dream direction elevated the show, Frost’s narrative grounding and intricate mysteries gave it a balance that made it extraordinary. Without Frost’s influence, The Return felt adrift. It was overrun with ill-paced nonsense, non-answers, time loops, underdeveloped new characters, and the frustrating sidelining of beloved returning ones.
The Return didn’t just disappoint me; it left me heartbroken. Leading up to its release, we reviewed all of David Lynch’s films. It was a series I was so excited to do–to immerse myself in Lynch’s world. I was excited to revisit and deconstruct the films I had seen, and to finally experience his works I’d not yet got to. I eagerly dived deep into his creative mind. Beyond just the movies, I immersed myself in Lynch. I read his book Catching the Big Fish, watched countless interviews, and found his thoughts—and his silences—equally fascinating. The questions he refused to answer (like never telling how the baby was made for Eraserhead) drew me more into the mystery that was the man and his art. I admired the mystique he cultivated.
But The Return soured all of that. It frustrated me so much that I discarded my Twin Peaks books — I didn’t just sell them, I literally put them in the trash. I keept only an autographed DVD set from San Diego Comic-Con.
I didn’t just stop watching Lynch’s work—I actively avoided even thinking about it.
Now that Lynch has passed away, I’ve ruminated on his legacy. It’s been years since I watched The Return, and as the sting has faded, I’ve begun to see his body of work with fresh eyes. I’ve rewatched interviews and remembered the qualities that once drew me to his films. Though I’ve been critical of some of his artistic choices, it’s undeniable that his singular vision shaped modern cinema. His work, whether each was a triumph or a failure in my eyes, could only have come from him.
This shift has surprised me. For the first time since 2017, I feel ready to revisit his films—starting with Blue Velvet, Wild at Heart, Lost Highway, and maybe even Fire Walk With Me. I don’t have time to watch them right now (I have to watch Battleship and Showgirls for our upcoming schedule…not exactly the same cinematic experiences), but the desire to return to his world is a significant change.
No matter how I’ve felt about specific works, Lynch’s contributions to film are undeniable. He was a true artist, a unique voice who inspired countless others. His passing leaves a void in the world of filmmaking, and I’m mourning his loss more deeply than I expected. The world is lesser without him, and for all the highs and lows, I’m grateful for the indelible mark he’s left on cinema.
Here are some interviews and videos of Lynch that I’ve watched lately that I recommend if you want to also (re)experience him and his unique voice.
David Lynch’s Masterclass on Film (Uploaded to YouTube)
David Lynch on Meeting George Lucas
David Lynch shares his thoughts on dying and living. 💔
h/t r/davidlynch pic.twitter.com/FQnwBDxlix
— Cinephilia & Beyond (@CCinephilia) January 19, 2025
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