In 1987, David Lynch emerged as a significant figure in cinema with the release of Blue Velvet in U.K. theaters. While Lynch, who passed away in 2025, was still relatively unknown at that time—having previously created the underground classic Eraserhead, the critically acclaimed The Elephant Man, and the commercially disappointing Dune—Blue Velvet transformed his career and established him as a prominent and innovative filmmaker.
As Lynch’s brilliance continued to captivate audiences through the years, culminating in renowned works such as Wild at Heart, Twin Peaks, and Mulholland Drive, he often remained enigmatic, evading deeper insights into his artistic process. With an expansive retrospective set to launch at The Cinematheque on December 11, featuring Blue Velvet alongside all 10 of his feature films and the broadcast premiere of Twin Peaks: The Return, it offers an opportune moment to revisit this iconic filmmaker’s early days.
An intriguing aspect of Lynch’s earlier work can be observed in his appearance on the BBC arts program Arena, where he introduces surrealist shorts by masters such as Marcel Duchamp, Jean Cocteau, and Man Ray. Viewers will be struck by how Lynch channels their visual languages into his own creations, employing techniques like double exposure in both Eraserhead and The Elephant Man. Such artistic indebtedness permeates through his body of work, extending all the way to Twin Peaks: The Return, demonstrating a consistency in his style across decades and evolving technologies.
Notably, Lynch’s artistic approach shines in his handling of effects and image creation, as seen in behind-the-scenes footage from his projects. His hallmark methods, including the physically aggressive shaking of a camera, exemplify his commitment to tactile and visceral art. Particularly memorable is Episode 8 of Twin Peaks: The Return, renowned for its ambitious and surreal storytelling that reflects Lynch’s influences from early surrealist art.
While Kenneth Anger, a prominent experimental filmmaker known for his 1964 short Scorpio Rising, is not featured in the Arena program, connections between Lynch and Anger’s work are suggestive of a broader artistic lineage. Both filmmakers inhabited a complex and sometimes dark nexus of Hollywood history, with figures like Dennis Hopper and Harry Dean Stanton shaping the narratives within Lynch’s universe.
As Lynch’s exploration of the Hollywood mythos deepened, particularly in darker pieces such as Lost Highway, his storytelling intertwined with a rich tapestry of characters drawn from a time when the cinematic world was radically evolving. This reliance on a distinctive cast of characters showcases Lynch’s unique vision of entertainment, contributing to his reputation as an elusive yet influential filmmaker.
The retrospective at The Cinematheque is a celebration of Lynch’s prolific career and offers new and long-time fans alike an exciting opportunity to revisit his groundbreaking work, revealing the layers and connections that define his extraordinary contribution to cinema.