Remembering David Lynch with 1988 Short ‘The Cowboy and the Frenchman’

On Friday nights, Indiewire after darkness It takes a rhythm of its length to honor the marginal cinema in the flow of flow.

First, read Bait: A strange and wonderful choice of any time in film. Then, try Bite: The collapse of the end of the movie, the effect, and any other spoilers you want.

Taste

For theft of Mimi popular this week, January was the longest year per month.

With Los Angeles is still burning in the background, David Lynch died A few weeks ago – complications of puffy lung in 78 – Hollywood went to sudden and deep mourning. Even against a continuous flow of bad news (politics, plane crash, Emilia Perez Oscar nominationsThe greeting of the late director is still strong.

From “EraserHehad” to “Enland Empire”, the beloved director was an ideal and divisional voice for the culture of films in the middle of the night, which has become a surrealism of type and arthouse a cinematic category itself. We go back to us regularly It is scheduled Under the title Programming next month, but before we fall into what we cannot hope it will be better in February, after darkness doubles again to spend a little weakness with a specialized treasure that fits a strange way for this moment. Tonight, we see “The Cowboy and the Frenchman” from 1988.

A prolific artist with masculine dreams, Lynch made a large number of Short films Throughout his career. At first glance, this farce the size of the sting is noticeable to be presented to the late Harry Dean Stanton, who plays the role of deaf cowboy. Encouraged the French magazine Le Figaro for a series on how foreign artists shared the French (Werner Herzog and Jean -Luke Godard also participated, it lasts as a pure injection of the Nisian Americana. It dominates Western stereotypes while their composed experiences with the rays of its tendencies, such as humor, play with hardness and ridiculous dialogue of confusion as well as magic.

When Pierre (Friedrich Golshan) stumbles on the side of the hill at Selim’s house, he was intercepted by Hands Hands Pete (Jack Nancy) and Dusty (Tracey Walter). It will take several minutes of ABBOTT and Costello exchanges to gather the cowboy together that only French Pierre Pierre-and he was escaping from a “Indian” called Feather Broken (Michael Horse Hawk from “Twin Peaks”). But as soon as the cow shepherds wandering in the luggage of Pierre, packed to the edge with wine, bread, cheese, and fried potatoes, Selim Busra Al -Badizer decides and allowing the Parisi to stay.

It tends to your lines when facing times of uncertainty or sadness that works a lot of time. For this reason, horror movies were working well. But after the difficult January – mired in the exceptional American between the other shit of horses – anyone still in the lynch kick should think of watching these hidden gemstones as a cleaner of the painting. Although it is incomplete, “The Cowboy and The Frenchman” sees that directors take a break from his dark imaginations to explore the idea of ​​cultural exchanges using its favorite motifs and markets. It is a warm re -reminder of Lynch wisely.

“Cow and French Shepherds” now flows on Mobi.

Bugs: “You can explain some things … or maybe not”

“The CowBoy and the Frenchman” can be amazing, with lines such as “Flapjacks is large like a foamin Sarg! ” And “and”I told you that we cannot eat this cheese! ” Adhere to your mind after only watching. With the night-night wearers, Pierre, broken feather, Dasti, and a house that is met by a group of girls singing in black pastures-the visual images fail to overcome them, but the contradictory party still feels like one that can be placed only by lynch.

There are two common interpretations for this short. You can handle coarse cowboy processing with Parisi as an accusation list of Americans as international heads, or you can see the story in general as a volatile note on how the French He thinks They are seen by the vast and varied United States. It takes a certain amount of autoimmune to recruit creators to recognize their feelings of your culture, and Lynch’s decision to reject the Le Figaro offer before it is finally accepted, supports that second theory.

With snails in his pockets and an irreplaceable image of the actor/director Portorico Jose Ferrir in his bag, Pierre spends the first half of my short palace hair around the beauty of Manhattan. It is installed on the statue of freedom such as “brutal”-and it tells the affairs late at night with a rich conversation and “colored pills” as inverted symbols of the urban elite.

“I saw a very small brutal donkey in the Ford car,” Pierre Kos was delivered at a moment of harsh cowboy, directly to the camera. He skates in the presence of a broken feather, but it conveys a spiritual sense of curiosity by its descriptions of the eastern coast. Later, as slow horse scenes of the horse, he remembers Kanan and men dancers through fog of wine and pure air, and Pierre remembers the wild and stars.

Despite a satirical or cute as you choose, “The Cowboy and the Frenchman” is crowned with a French woman with a dark hair that comes out (“IT is Do-Si-Do, or it is Do-Si-Dee …“It is an overlap) before Pierre begins kissing two American chicks (“Voulez-Vous Coucher Avec Moi Ce SOIR?One is asking clearly-ting. “Fif if France! “They all say. It is a happy moment, assuming that sex and free patriotism is your thing, and the decisive artifacts of a movie director can comment on the comment without sacrificing his later perspective.

Indiewire after darkness It publishes the recommendations of the midnight movie every Friday. Read more of our distorted suggestions …