Chapter 3 - Crossing the: Threshold A Cinematic Exploration of Liminal Spaces

"I don't know why people think a film should make sense when they don't accept the fact that life doesn't make sense." - David Lynch

Amidst the liminal spaces of our minds, where reality and dream entwine, lies the cinematic universe of David Lynch, a world of mystery and unrelenting suspense. From the dark and eerie corners of the Black Lodge to the winding roads of Mulholland Drive, Lynch's liminal spaces leave us in awe, as we traverse the line between the real and the surreal.

David Lynch is a renowned American filmmaker known for creating hauntingly beautiful, yet enigmatic and perplexing films. His works have a unique quality that leaves viewers with a sense of mystery and intrigue, prompting them to ponder and analyze the meaning behind each scene and character. Lynch's films are often described as surrealistic, exploring the depths of the human psyche and presenting us with strange, dreamlike scenarios that defy easy explanations. The intricacy of his films, coupled with his unconventional storytelling techniques, has made Lynch's work a source of fascination and confusion for audiences around the world. In this regard, it is no wonder that his films have become synonymous with mystery and intrigue.

In this essay, we delve into the power of these spaces. As we explore Lynch's cinematic masterpieces, each one is a journey through the liminal realm, guided by a director who defies all conventions and norms.

Paranoia or paradise?

One recurring theme in Lynch's films is the use of liminal spaces. These are spaces that exist between two distinct environments, such as a doorway or a threshold. By utilizing these in-between spaces, Lynch creates a sense of uncertainty and unease, forcing the viewer to question their understanding of the world depicted on screen. In Lynch's films, these spaces are used to create a sense of tension, confusion, and uncertainty. In this essay, we will explore how Lynch uses liminal spaces in his films, and how they contribute to the mysterious and often unsettling atmosphere of his work.

One of Lynch's most iconic films is "Blue Velvet," released in 1986. The film takes place in a small town in America and tells the story of a young man named Jeffrey Beaumont, who becomes embroiled in a mystery after discovering a severed ear in a field. Throughout the film, Lynch uses liminal spaces to create a sense of unease and tension. For example, when Jeffrey first discovers the ear, it is lying in a grassy field, surrounded by trees. This space is both natural and artificial, as the trees give way to a highway in the background. This creates a sense of disorientation, as the viewer is unsure whether they are looking at a peaceful natural setting or a menacing urban environment.

In Eraserhead (1977), Lynch uses liminal spaces to create a sense of isolation and alienation. The film tells the story of a man named Henry, who is struggling to care for his mutant baby. Throughout the film, Lynch uses liminal spaces to depict the bleak and desolate world that Henry inhabits, such as the dimly-lit industrial landscapes and the cramped, claustrophobic apartments.

Lynch's 2001 film "Mulholland Drive" also makes extensive use of liminal spaces. The film follows a young woman named Betty, who arrives in Los Angeles to pursue her dream of becoming an actress. However, her dreams quickly turn to nightmares as she becomes embroiled in a complex mystery involving a woman named Rita, who has lost her memory. The film is filled with liminal spaces, including the winding roads of Mulholland Drive, the strange, empty rooms of a hotel, and the shadowy corners of an abandoned theatre. These spaces are often depicted as both beautiful and terrifying, adding to the film's dreamlike quality and sense of unreality.

In Lost Highway (1997), Lynch uses liminal spaces to create a sense of confusion and paranoia. The film tells the story of a man named Fred, who is accused of murdering his wife. However, he soon realizes that he is not whom he thought he was, and that reality is not what it seems. Throughout the film, Lynch uses liminal spaces to create a sense of disorientation and uncertainty, such as the eerie, deserted highways that Fred travels down.

Twin Peaks - Long day’s journey into night

The show Twin Peaks takes place in a small town, where the body of a young woman named Laura Palmer is discovered. Throughout the show, characters move through a variety of liminal spaces, including the woods surrounding the town, and the dark, mysterious rooms of the Black Lodge. These spaces are often depicted as both beautiful and terrifying, further adding to the sense of unease and uncertainty.

One of the main reasons why liminal space matters in Lynch's films is because it allows him to explore the boundary between the conscious and unconscious mind. By creating spaces that exist between two distinct environments, Lynch is able to blur the lines between reality and dream and explore the subconscious mind of his characters. In many of his films, characters move through a variety of liminal spaces, such as the woods surrounding Twin Peaks, or the winding roads of Mulholland Drive. These spaces are often depicted as both beautiful and menacing, further adding to the sense of ambiguity and uncertainty.

The theme of duality

Liminal space allows Lynch to explore the theme of duality, which is another recurring motif in his works. In Twin Peaks, Lynch uses liminal spaces to create a sense of mystery and foreboding. Throughout the show, characters move through a variety of liminal spaces, including the woods surrounding the town, and the dark, mysterious rooms of the Black Lodge. These spaces are often depicted as both beautiful and terrifying, further adding to the sense of unease and uncertainty. By depicting spaces that exist between two distinct environments, Lynch is able to explore the contrast between light and darkness, good and evil, and the conscious and unconscious mind. In Twin Peaks, for example, the Black Lodge is a liminal space that represents the dark side of human nature, while the town of Twin Peaks represents the light. Similarly, in Blue Velvet, the grassy field where the ear is discovered represents the idyllic surface of suburban life, while the dark underworld of Frank Booth represents the seedy underbelly.

Tension, ambiguity, uncertainty, and mystery, that is what we love about David lynch’s work. By depicting spaces that exist between two distinct environments, Lynch is able to create a sense of disorientation in the viewer, forcing them to question their understanding of the world depicted on screen. This, in turn, contributes to the mysterious and often unsettling atmosphere of Lynch's work, making his films some of the most enigmatic and memorable in modern cinema.

Next time you find yourself watching a film and feeling that sense of unease or disorientation, take a moment to consider the liminal spaces at play and the deeper meanings and implications they may hold. In these strange and enigmatic spaces, we may find the answers to some of life's most profound and enduring questions.