Rent Lynch/Oz (2022)

Lynch/Oz review by Mark McPherson - Cinema Paradiso

Lynch/Oz is sure to garner criticism for having the look and feel of a video essay you stumble across on YouTube. It’s not exactly a revealing documentary, unless, of course, you really wanted to see how promos for Twin Peaks were shot. Alexandre O. Philippe assembles a slew of talented filmmakers and critics to talk about the connections they can find between David Lynch, The Wizard of Oz, and everything about cinema that connects in between. The results are more intriguing than one might expect unless, of course, you consider the talented individuals involved and how much fun stuff they have to say about this topic.

While Amy Nicholson and Rodney Ascher get the ball rolling with trying to find all the pop culture stitching, I want to jump right to John Waters. Think about it: You have John Waters talking about a film he loves and a filmmaker he adores. There’s plenty to say about how much Oz meant to Waters growing up and how it influenced his work. There’s plenty to say about David Lynch and how his views of picking apart the idealized America of the 1950s relate to Waters’s filmography. Combine both, and you’ve got one hell of a speech about how the influences that lace our collective consciousness spread far and wide. Even at his age, Waters is still a joy to listen to; you can practically see his grin despite being a voice-over in this film.

The other voices provide great insight by tapping into a few different perspectives. Karyn Kusama takes a look at the feminist angle that has become associated with Oz. Justin Benson and Aaron Moorhead divulge in a more conversational pattern in talking about the trippy nature of how Oz and Lynch wield their magic. David Lowery delves deep into how both works reflect our modern world and his own filmography.

The essays don’t hold back regarding the areas that are willing to be explored. It’s not just a routine dissection of The Wizard of Oz and David Lynch films because that’s not a hard connection to make. For those worrying that these essays will play like lukewarm YouTube cash-cow videos of trying to state, “Did you know Lynch’s Wild at Heart has these overt references to The Wizard of Oz?” We know, and the people speaking in this film know as well. What’s more remarkable is observing the personal appeal of Oz being a rite of passage and Lynch being a puzzle box of a director whose films continue to be fascinating enigmas with the director’s unwillingness to explain the meaning behind his films.

In case you were wondering, no, David Lynch does not speak directly in this film, but what would he say? The many interviews showcased in the film make it clear that Lynch would rather not reveal any of the mystery behind his films. It’s more fun when his work is left up to our own interpretations and deciphering what we as individuals take away from the film than whatever the director intended. The interview where Mark Kermode attempts to grill Lynch for answers is brilliant, where even a hint of getting close to the point is denied. David Lynch’s film dares us to define them with no concrete answer, and those who accept the challenge have to leave a piece of themselves on the table.

Lynch/Oz is a series of essays worth getting lost in. They peel back the layers to reveal keen observations but also bring a personal edge to how we perceive pop culture itself. It’s not as simple as some conspiratorial theory akin to Room 237. There’s no board with red string trying to connect Wild at Heart to Wizard of Oz. What is present are profound essays on what makes movies so intriguing beyond the surface level.