Tag Archive: Lynchian


STARVE ACRE : a novel by Andrew Michael Hurley (First published by Dead Ink Books, 2019), a film by Daniel Kokotajlo (UK, 2024)

“What you go searching for and what you find aren’t always the same”

When you look for hope you can find horror or, in the case of Starve Acre, Folk Horror.

This term was first coined by The League of Gentleman’s Mark Gatiss and this flourishing subgenre is currently undergoing a major cinematic revival.

The film version of Andrew Michael Hurley’s sinister novella will add to the popularity of this moniker which is as uniquely British as Hammer Horror was in the 1960s.  It will also encourage the belief  that darkness lingers below of surface of  the apparently idyllic British countryside just as surely as Lynchian nightmares lurk behind white picket fences of middle America.

Andrew Michael Hurley’s distinctive third novel is a book about grief and a couple trying to overcome a personal trauma. The catalyst is that Richard and Juliette Willoughby’s 5 year old son, Ewan, has died suddenly in mysterious circumstances.

This tragic event occurs after the married couple’s move from the city (Leeds) to a house in the Yorkshire Dales inherited from Richard’s recently deceased parents. The new home is described as having three storeys of heavy stone, shuttered windows and a “utilitarian black” front door.

Heavy, shuttered and black? What could possible go wrong?

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‘Twin Peaks Season 3 – The Return’ directed by David Lynch

twinpIt goes without saying that David Lynch divides audiences. His surreal visions of the world and the tall tales he weaves are never going to be to everyone’s taste.

The naysayers continually complain of the absence of linear narrative in his work, or point to the wilful weirdness, the stilted dialogue and the wooden acting. Actually, a lot of the time, all these criticisms are valid but what count as weaknesses in other auteurs turn into strengths in the Lynchian universe. Continue reading

ERASERHEAD directed by David Lynch (USA,1977)

Seeing Eraserhead in a small arts cinema in Birmingham soon after its UK release was a kind of epiphany. Everything I thought I knew about movies suddenly had to be reimagined.

Here were images that defied logic yet were recognisable as the world I had read in the stories of Franz Kafka or seen in the surrealistic paintings of Max Ernst.

The low-budget horror sequences were at once comical yet hideously grotesque. The creation of mood through Alan Splet’s extraordinary analogue sound design was like nothing I’d heard before.

Watching it again in a brilliantly restored DVD version is a different experience because now there are so many more points of reference. Body horror is a recognized sub-genre and we can refer to images as Lynchian to give a context which was entirely absent in 1977.

Yet even from this more knowing perspective, you will struggle to explain what connects a black planet in space, a man pulling levers in a shack, a singing lady in the radiator, worm-like fetuses or a severed head being turned into pencil erasers?

 With typical perversity David Lynch says Eraserhead is the most spiritual of all his films yet this is a secular, nightmarish world that, for all its absurdity, many will still find sick and horrifying.

It remains totally unique and stands as one of the most terrifying movies in the history of cinema.