Category: Books


TWIN PEAKS: THE RETURN, PART 8.  Movies Minute By Minute  – Jeff Wood (Bloomsbury Time/Codes Series, 2025)

“Twin Peaks as The Return is the epic and serial momento mori of 20th century Americana passing through the violent taxidermy of its own hallucinatory euphoria and into the perpetually reanimating nightmare of itself, looping and glitching as violently unreal.”

The fact that the above quote is taken from the endnotes section gives a flavour of the mind-blowing quality of the text contained in the main body of this short (120 pages) but immense book. 

Jeff Wood embarks on a deep dive into the Twin Peaks universe taking the risk of drowning in the vast ocean of David Lynch’s visionary genius. The Ohio born author swims freely in the ambiguities, weirdness and complexities he discovers.

Twin Peaks’ original run in 1990 comprised two seasons and 30 episodes. Quite simply it redefined what television series could achieve in a way that modern streamers now take for granted . Season 3, promoted as a ‘A Limited Event Series” subsequently landed in 2017. Lynch and co-writer Mark Frost were given carte blanche in ‘the return’ to go with the flow, a degree of self-control that could have proved disastrous but actually resulted in 18 episodes that brilliantly expanded and enriched the narrative universe of Twin Peaks.

At its epicenter is ‘Part 8 Gotta Light? which has rightly been heralded not only as the pinnacle of the ‘show’ but on a par with the greatest of Lynch’s cinematic achievements. It’s hard to think of any of the greatest series –like, say, ‘The Wire’ or ‘Breaking Bad’ – that could be so satisfactorily encapsulated in a standalone episode lasting just 58 minutes.

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Two of the biggest movies around at the moment, both directed and starring strong-willed women, are “Wuthering Heights” (Emerald Fennell) and The Bride! (Maggie Gylennhaal) .

The first title comes with quotation marks, the second is rounded off with an exclamation point.

What can we deduce from these very deliberate uses of punctuation?

The scare quotes on the first comes as a warning that Emily Brontë’s 19th century tale of love and lust on the Yorkshire Moors is used only as a rough guide to the plot of film. There is no pretense that the original setting and storyline will be faithfully rendered. The boddice ripping frenzy captures the spirit of the novel but rides roughshod over the more nuanced details. Authenticity can go hang. 

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Cool quotes for movie buffs

While working on my soon to be published book on British cinema and identity I accumulated a lot of quotes about films in general.

These are some of my favourites:

Illustration from a 1922 article on “The Romantic History of the Motion Picture”: George Eastman was trying to improve the kodak when he hit on celluloid film
  • “Film is not the art of scholars but of illiterates. And film culture is not analysis, it is the agitation of the mind” – Werner Herzog
  • “The study of the film as a means to human understanding is not a mere intellectual exercise. It is part of a continuing study we have all got to make in our search for harmony in a tortured world.” – Ross McLean, Head, Films & Visual Information Division, Unesco
  • “Marginal cinema is now the only form of national cinema” – Meaghan Morris
  • “The problem is not to make political films, but to make films politically.” —Jean-Luc Godard
  • “If there’s a corridor, there’s a film” – Céline Sciamma
  • “Films that are entertainments give simple answers but I think that’s ultimately more cynical, as it denies the viewer room to think. If there are more answers at the end, then surely it is a richer experience.” – Michael Haneke
  • “Sometimes film needs the room to dream” – David Lynch
  • ‘I’d rather people feel a film before understanding it.’ – Robert Bresson
  • “Film is a highly evocative ideological sphere. It does not reflect its time or society; instead it reinforces, moulds, twists and subverts the many truths of culture.” – Tara Brabazon
  • “The created world must obey its own logic” – V.F. Perkins

DIE MY LOVE directed by Lynne Ramsay (UK/USA,2025)

By all accounts, the Scottish director Lynne Ramsay had to be persuaded that an adaptation of the debut novel by Argentinian author Ariana Harvicz was a project worth investing in. I think it shows. She brings her unique cinematic vision to the work but her heart doesn’t seem to be fully in it.

Martin Scorsese recommended the book to Jennifer Lawrence who chose Ramsay to direct her full-blooded rendition of a woman on the verge of a nervous breakdown. Lawrence is Grace by name but not by nature. She claws at walls, head butts mirrors, throws herself through a window and jerks herself off when her long suffering husband, Jackson (Robert Pattinson), doesn’t fuck her to order.

The precise cause of her mental illness is unclear. Some have speculated that she is suffering from a from of post-natal depression but this doesn’t seem right because her mood swings and manic energy are visible before her son is born. Bipolar disorder is another possible explanation which seems a little more credible. Her nymphomania also suggests attachment issues.

However you diagnose what’s going on with her, the rage and violence is there for us all to see, If there was an Oscar for self-abuse and unhinged craziness then Lawrence would win hands down. The redoubtable Sissy Spacek as her mom-in-law is a welcome stabilizing influence but no-one can pacify Grace.

Because we never get to know much about Grace’s back story and know very little of her husband’s background it is harder to fully engage with, let alone decipher, all the excesses.

Ramsay directs with verve and energy. The mood changes are bold. The soundtrack is loud. The cinematography is exceptional. But without a soul, the movie doesn’t generate any empathy or sympathy. In consequence, you watch in a state of morbid fascination much like you might witness an unfolding natural disaster on TV happening in a place you’ve never previously heard of.

The above two film stills are from Performance directed by Donald Cammell and Nicolas Roeg. In the first Chas (James Fox), is in a bathroom and the mirror image he sees is of a hard man, a tough guy. Chas looks too much like the person he is : a gangster on the run. He is not pursued by the police but by the violent mob he has worked for. A loaded gun won’t set him free. His only hope of escape is to change his physical appearance. In the second image he is bewigged and feminized so that he resembles the woman in the hand mirror who is witnessing his transformation.

These scenes take place while Chas is hiding out in a seedy basement flat in North London. His unconventional landlords are bohemian dropouts Turner (Mick Jagger) and Pherber (Anita Pallenberg).  At its heart, Performance is a clash of two subcultures: the criminal underclass and the post-hippy subculture.

Studios were uncertain about how to pitch this hybrid film and nervous about the controversy it seemed destined to cause. As a result, its release was delayed for two years. When it did finally reach cinemas in 1970, the promotional posters reflected ambiguities towards the content: “This film is about madness. And sanity. Fantasy. And reality. Death. And life. Vice. And versa.” As this slogan suggests, Performance defies easy categorization.

 Although Donald Cammell is credited as co-director, Performance is Nicolas Roeg’s cinematic vision and features his signature cut-up style editing technique. This creates a sense of menace and nervous energy by jumbling up the linear flow of the narrative.

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