Miguel Gomes

In the weeks since David Lynch’s death, much of the conversation around his legacy has focused on the dream-like quality of his work, a quality ephemeral enough that long ago it necessitated the coining of its own eponymous adjective: ‘Lynchian’. But without the ease of such brand-name recognition, how might we define what makes a film ‘dream-like’? Is it the absence of hard logic and traditional storytelling beats? ... (read more)