The filmmaker Rodney Ascher opens Chapter 2, “Membranes,” for instance, somewhat confusingly by drawing lines between “Oz” and the Robert Zemeckis film “Back to the Future” (1985) as the split screen fills with snippets from both movies. and what soon starts to feel like every single movie made since the dawn of motion pictures.Įach of the chapters in “Lynch/Oz” effectively functions as a mini-essay on the documentary’s subject, with the hosts discoursing on narrative prototypes, the unconscious, visual techniques, Lynch’s work and occasionally their own. (The film critic Amy Nicholson, a frequent contributor to The New York Times, is one of the hosts.) Outside of some originally shot material of an ornate theater, the visuals consist almost entirely of archival footage, primarily from Lynch’s filmography as well as from interviews, ads, etc. Divided into six chapters narrated and “hosted” (as the credits put it) by some half-dozen individual contributors, the movie is effectively an auteurist study in a boosterish key.
Philippe explores with scattershot results how “The Wizard of Oz” figures into Lynch’s oeuvre. In his frustrating documentary “Lynch/Oz,” the writer-director Alexandre O.
“If you’re truly wild at heart,” the Good Witch announces to the film’s ultraviolent hero, “you’ll fight for your dreams” - advice that sounds like a statement of Lynchian artistic belief. Ballard once observed that David Lynch’s 1986 freakout “Blue Velvet” is “‘The Wizard of Oz’ reshot with a script by Kafka and décor by Francis Bacon.” Lynch-lovers have long known that the filmmaker has a thing for “Oz” and its alternative realities: In “Blue Velvet,” a tragic woman named Dorothy wears red shoes in Lynch’s “Wild at Heart” (1990), a Good Witch floats down from the sky in a bubble-gum pink orb à la Oz’s Glinda.
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