Every frame a pointer.
Nolan’s hardly shunned the comparisons (and fair enough - few directors would).
They are their own things.
Gifford is the author of Wild at Heart and screenwriter of Lost Highway, two films David Lynch directed.
Immortality and Lynch is really less of a haunting, more of a close encounter.
Just like Nolan, with Immortality Barlow has built a technical marvel that is impressive to behold.
What I keep coming back to with Immortality, though, is the job of an architect.
Let’s walk it back a bit though.
Apples, snakes; oranges, nudity; keys, mystery; guns and knives and bloody hands.
Probably a Maltese Falcon if you look hard enough, somewhere on a shelf.
Themes recur and recur until they seem like much more than just a theme - more a pointed remark.
But that question - am I doing this right?!
- pervades throughout, and the uncertainty became, at least for me, part of the fun.
At one point I unlocked an achievement for “what happened to Marissa Marcel”.
A little later I reached the end credits.
I’ve wrestled with it and compared notes, doubted methods, gone through favourites and more.
I barely touched the various means of organising and filtering the footage - should I have?
This is a blessing and a curse for Immortality.
But upon reaching the other side I’m not entirely sure hewantedto.
I think I’ve been freer than I was meant to be.
I think I still have too many dangling threads.
People give a shot to solve his films because he doesn’t really make films.
Immortality, I feel, is a puzzle.
An immaculately conceived puzzle, built with superlative skill - and genuinely thrilling in its own right.
But it’s hard for a puzzle to feel profound.
