35mm presentation of a David Lynch classic!
Cinema Museum introduction:
Wonder Reels return to the Cinema Museum with their unique events featuring live performances from outstanding London musicians followed by a 35mm screening of a full feature film chosen with the artist in mind. The series will be kicking off with a rare set from dark electronic gem Vindicatrix, fronted by multi-instrumentalist David Aird, whose dystopian crooning will create the perfect atmosphere to a Lynchian evening. The concert will be followed by a 35mm projection of 1990 Palme d’Or winning masterpiece Wild at Heart (1990), in which Laura Dern and Nicolas Cage portray lovers on the run Lula and Sailor, chased by a stunning cast of villains. Doors open at 18.00, live performance from 18.30, film from 19.30.
Wonder Reels return to the Cinema Museum with their unique events featuring live performances from outstanding London musicians followed by a 35mm screening of a full feature film chosen with the artist in mind. The series will be kicking off with a rare set from dark electronic gem Vindicatrix, fronted by multi-instrumentalist David Aird, whose dystopian crooning will create the perfect atmosphere to a Lynchian evening. The concert will be followed by a 35mm projection of 1990 Palme d’Or winning masterpiece Wild at Heart (1990), in which Laura Dern and Nicolas Cage portray lovers on the run Lula and Sailor, chased by a stunning cast of villains. Doors open at 18.00, live performance from 18.30, film from 19.30.
Time Out review:
As petty criminal Sailor (Nicolas Cage) and his lover Lula (Laura Dern) go on the run through a murderous Deep South, fleeing but meeting sleazy oddballs hired by Lula's mom (Diane Ladd) to end their relationship, Lynch evokes a surreal, sinister world a mite too reminiscent of his earlier work: bloody murder, violent sexual passion, kooky kitsch, freaky characters immersed in private fantasies, digressive metaphors, symbols and cultish references, and bizarre humour to lighten the nightmare. This déjà vu weakens the film; sometimes the weirdness seems so forced that Lynch appears merely to be giving fans what they expect. But it's churlish to focus on flaws when so much is exhilaratingly unsettling. Even more than a virtuoso shoot-out, two scenes - Stanton tortured by a gang of grotesques, a truly nasty car crash - exemplify Lynch's ability to disturb through carefully contrived atmosphere; while the performances lend a consistency of tone lacking in the narrative (but ever-present in Fred Elmes' fine camerawork). The film, finally, is funny, scary and brilliantly cinematic.
As petty criminal Sailor (Nicolas Cage) and his lover Lula (Laura Dern) go on the run through a murderous Deep South, fleeing but meeting sleazy oddballs hired by Lula's mom (Diane Ladd) to end their relationship, Lynch evokes a surreal, sinister world a mite too reminiscent of his earlier work: bloody murder, violent sexual passion, kooky kitsch, freaky characters immersed in private fantasies, digressive metaphors, symbols and cultish references, and bizarre humour to lighten the nightmare. This déjà vu weakens the film; sometimes the weirdness seems so forced that Lynch appears merely to be giving fans what they expect. But it's churlish to focus on flaws when so much is exhilaratingly unsettling. Even more than a virtuoso shoot-out, two scenes - Stanton tortured by a gang of grotesques, a truly nasty car crash - exemplify Lynch's ability to disturb through carefully contrived atmosphere; while the performances lend a consistency of tone lacking in the narrative (but ever-present in Fred Elmes' fine camerawork). The film, finally, is funny, scary and brilliantly cinematic.
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