第三双鞋印

Black/white lodge不只是抽象的善恶本源，而且近似于高维空间，它的时间处于静止/折叠（准确说是根本不存在时间）。这里的“头目”（fireman/judy）可以操控现实世界 （类似于《星际穿越》里，三维空间的一个观测成了五维空间里的一个切片），甚至将世界改造成一个不同的时间线。我们看到woodsman的淡入/淡出，正是高维生物的运动在三维空间里观测到的样子。

现实世界的人物出入高维空间要经过特定的通道。可能是在现实中特定时间+地点坐标形成的开口，也可能是black lodge->紫色铁屋->插电孔这种奇特路径。

现实不存在“平行世界”，但是它否定了时空状态的唯一性（即对任一个三维空间+时间的坐标，世界的状态不是唯一确定的），因为它时刻处在高维空间的干涉中。当它被替换为新的时间线，之前的时间线从物理上就不存在了。如果没有恶之源，现实世界也没有与高维空间发生关系，它或许原本是线性的。

当现实世界被替换为新的时间线，人们会持有其他时间线中的记忆。同样地在Black/white lodge影响下，人们不同程度地持有他们去过lodge（尽管发生在“将来”）的记忆，或者关于“将来”的其他预见。但是这些记忆通常体现为潜意识，在某些时刻（如梦中）被唤起。特定的人可通过lodge在同一时间线中时空旅行 （一个观测空间的物理身体来到另一个观测空间，能够保有全部记忆）。

因此并没有真正的“轮回”，但是人们好像在没经历一件事之前已经经历过它了，或者说经历了各种时间线和各种时间点的“全集”，时间在高维空间作用下弯曲折叠，过去/现在/将来的区分失去了意义。

摄影机像一个角色一样具有一个“观测空间”。现实不再是线性时间的，但我们的观测是线性时间的。当某一时间点的世界状态受到外力扰动，这个扰动可能会波及它“之后”的世界状态。因此我们的观测空间常常处于不稳定的“裂变”中（一个特殊的镜头效果，甚至一个平常的镜头剪切，可能已经在传递裂变的感觉，get到这种状态或许是体验这部电影的关键），有时则是时间线替换产生的巨变（包括观测到突然“断电”）。现实中与高维空间干涉越多的时-空区域，越容易观测到裂变，这也解释了紫色铁房间里的混乱情况。

关于梦与现实的探讨，在这个世界里每个人有唯一的灵魂，却不再有唯一的身体，他所处的时空会受到扰动，甚至时间线被终结，进入“另一具身体”中。于是这个世界本身就是“dream of time and space”，但是“Who's dreamer?”

如有新发现会继续更新或修正～

本文是《电影手册》2017年7-8月号和10月号的卷首语。

作者：Stéphane Delorme

中文部分自译

机翻可能有一定错误，但基本不影响阅读。

大卫·林奇在片场

10月号：Réel

最后一集《双峰》让我们坠入深渊，对它的讨论永远不会停止。“发生了什么？” 这个问题的关键并不在于这是个结局悲惨与否（我们近乎绝望地期待着happy ending）。这个结局成功了，以一种不可思议的方式：令我们在世界的角落下沉。它刺穿了表象。它触动我们，让我们在身体中感受到它，感觉到那种创伤，林奇的目的是让我们在现实中有所反应。于是，他有必要让作品变得“真实”。这个伟大的结局做了些什么？在一场非常非常漫长，可以消除一切的行程后，我们进入了看上去真实的双峰镇（Double R餐厅以一个特别的角度出现）。两位演员历经许久，从一个荒废的世界归来，发现自己面对面站在Sarah Palmer家现实中的主人（不过在剧中有个令人熟悉的名字，Tremond）面前。林奇把我们扔在这一刻，在一条路中央，如Cooper和Laura一样不知情，于是一种罕见的效应发生了，我们的感官更加敏锐，听着寂静的夜晚。就这样，我们呆在这条街上，不论有什么意义，也不论是否能去理解发生了什么。这些角色被投射到了我们的现实中，而我们观众则被投射进了剧集中，打开了另一个世界。林奇不想抛弃我们，与此相反他让观众面对自己，“今夕是何年？” 轮到我们来回答：2017年，而一切都可以从新开始。

毫不夸张的说，这部《双峰》是我们这个时代最伟大的政治作品。林奇制造了这座无敌的巨塔，一座他无法在现实中打造的巨塔：他将它打造在虚构中，形成了一座18集长的“巴别塔”，以此来改变我们的生活。这并不是一座洪水中的小屋，也不是一切都完美的天堂，而且也不只被手戴绿色手套的超级英雄所把守。这座塔在一个黑暗的时代中升起，它的战士支持着每一场胜利与失败。虽然剧集的结尾令我们绝望，但依据爱森斯坦依旧受用的概念，只有一部有着悲惨结局的影片才能引发一场反叛。这个开放的结局，就如所有伟大的现代作品一样，给了我们空间，它欢迎我们：并不是用拼接碎片来诠释它（这已经够令人激动和开心了），而是让我们来继续。林奇交接指挥棒，绿色手套被传给了我们：“为什么是我？” “为什么不是你？”

人们可以说林奇的目标是关乎道德的（内心善恶的战斗）或者抽象的（探讨邪恶的存在形式），但这部《双峰》的挑战在于转移到政治上，这是林奇之前未做过的事。我们从没见过他在作品中展现对这个时代、这个美国的担忧，用一连串关于令他作呕的“红脖”白人垃圾、对愚蠢的持枪暴力的讽刺；以及反过来，对住在拖车中，被迫卖血生存的穷人的关注（“fucking government”）。这个世界活在暴力的危害下，就如某一位Mitchum兄弟，在见证了一位开面包车的会计师的暴力后说的：“大家现在都饱受压力。” 但这并不是简单的谴责，这部《双峰》就是一位社会运动家的“天启”传单，希望一切都能在灭亡前改变。林奇相信我们能改变这个世界，而他用一切力量去触动和引导我们。

这部《双峰》宏大的美是因为林奇的领路，这是必须被观看的演出。他尽他全力，他敢于利用时间，创造了一座影史上未见的大桥。他用了多年的时间打造了这18个小时的奥德赛，让难以置信之物近在咫尺；他召回老友，邀请新人，好好地照顾了他们。这位陪伴了我们25年多的导演（也是这个时代的电影人），将秘密传达到了我们耳边：一座名为《双峰》的绿洲／乌托邦／大同社会诞生了，而言语无法试图传达这个人工现实的力量。这一切都只是梦吗？这得由我们来决定。

英文机翻：

The last episode of Twin Peaks has plunged us into abysses and since the discussions never end. What happened ? The question is not whether it ends badly or not (that desperate attempts to believe in the happy ending!). The end succeeds. She succeeds in something incredible: to sink a corner in our world. She pierces appearances. It touches us deeply in our life. We feel it in our body, we feel this wound on our side. Lynch's goal is to make us act in the real world. It was therefore necessary to make the film "real". What does this extraordinary end do? After a long long night crossing, which gets rid of everything, we enter the Twin Peaks city, as if it were the real one (the Double R seen from a new angle), the two actors coming back so far that the world seems deserted, and they find themselves face to face with the owner, in the life, of the house of Sarah Palmer, but decked out with a name of fiction that we know too well (Tremond), and Lynch leaves us there, in the middle of the street, as obsolete as Coop and Laura, with an effect of real rarity, the senses sharpened, listening to the silence of the night. There we are, in this street, and we stay there. Whatever the meaning, what matters is to stay there to understand what happened. The characters are projected in our world, we are projected into the show: this conflagration opens a door to a new world. Lynch does not want to lose us, on the contrary he puts us in front of ourselves. What year is it ? It's up to us to answer: in 2017. And everything can start from there.

It is no exaggeration to say that Twin Peaks is the great political work of our time. Lynch built his Tower of Invincibility, the one he tried to build in vain in real life: he did it in fiction, an 18-episode Babel Tower, to change our lives. This tower is not a flooded lodge nor a paradise where everything is fine, and it is not populated only by guards armed with a green glove of superheroes. This tower rises in the dark of the Dark Age and its fighters support as many victories as defeats. We are devastated by the end of Twin Peaks. But, according to the good old precept of Eisenstein, a film that ends badly is more likely to provoke revolt. This open end, as in all the great modern works, gives us room, welcomes us: not only to pick up the pieces from a hermeneutic point of view, which is already exciting and funny, but because it it's up to us to do it. Lynch passes the baton. The green glove is given to us. " Why me ? Why not you ?"

One could say that Lynch's aim is ethical (the eternal fight of good against evil) or metaphysical (the question of the existence of evil), but the challenge of this Twin Peaks is to switch to politics, what he had never done. Never had we seen this concern to speak of his time, of America, with this litany of beaufs white trash that he vomits, and that he can not help each episode to show in their armed violence and their stupidity, and conversely these poor people, in caravans, forced to sell their blood to survive ("fucking government"). It is the world as it is that engenders violence: "Everyone is under a lot of stress now," said one of the Mitchum brothers, scared by the violence of a chartered accountant. But the series far exceeds the simple denunciation. Twin Peaks is an activist leaflet for everything to change, an apocalyptic work. Lynch believes we can change this world. And he does everything possible to touch us and get there.

The immense beauty of Twin Peaks is that Lynch is leading the way. This is his gesture that must be watched. He who does everything possible, who braves the time, creates a bridge with the past as never in the history of cinema, invents in a handful of years an odyssey of 18 hours, which shows that the unimaginable is within reach of hand, he who gathers his friends, invites strangers, takes care of everyone, he who accompanies us for 25 years at least (it is definitely the filmmaker of a whole generation) and who comes to talk to us in the secret of the ear: it creates what some would call an oasis, a utopia or a community - but these words connoted, tired, folded, lack the power of manufacturing reality, global reality, that Twin Peaks. Is all this just a dream? To us to see.

7-8月号：Non-existent（1-8集）

When Dale Cooper finally comes out of the Black Lodge and falls into infinity, the tree shouts: "Non existent!" Yes, what we see is non-existent. What an unexpected gift makes us David Lynch, 25 years later! Season 3 of Twin Peaks, entirely made by him, is a fireworks display. In one of his rare interviews, he says that he has designed a series less than an 18-hour film, to be discovered every week (18 parts, until September 3). A film that does not stop repeating and that multiplies the peaks. It's hard to be astonished at the New York episode that Part 3 comes with his head of Eraserhead, then Part 6's hyper-violent, then Part 8. Two pictures interviews in the office of Gordon Cole, Kafka and the atomic bomb , And BOUM, five episodes later, the bomb exploded in 1945 and created the metamorphosis of a mutant insect. Every time he takes a step towards the old world of Twin Peaks, a leap back always sends us back further. Lynch knows he has captured a "big fish," as he says in his poetic art Catching the Big Fish. Gordon Cole confirms it when he repeats (like Dougie) what Denise tells her: "You are on something Big - He agrees: Big".

Season 3 is an immense gesture as if Lynch wanted to communicate all his ideas. Create the great work, synthesis, while avoiding compilation. And at the same time that he ventures farther, he does not forget Twin Peaks. The season is done without some characters, it's not their story, and yet these reunions are expected, Lynch offers them: James, Bobby, a sequence is enough. It barely supports and is devastated. He knows he's driving a Rolls. But even a Rolls purrs. Then he jumps elsewhere, constantly changing ladder, but without spice. It is enough for a beast that slowly enters the mouth of a teenager so that all the cinema of horror starts again from scratch. The absence of immediate explanation drives our mind, we seek, we think, we imagine. He plays with the cat and the mouse, but we are in good hands, filled with signs and emotions. What the periodicity allows precious is to see a work of art create before our eyes.

An unprecedented emotion also arises from these reunions with the actors. The three roles given to Kyle MacLachlan (exceptional) recall Laura Dern's role in the Inland Empire. Both times it is the impulse of an actor, a friend, who gives the green light. These two actors he discovered when they were 20 years old, they loved each other in Blue Velvet and in life: she alone could inevitably play Diane. There is also the dedication to the missing actors, even though they appear in the series: Catherine Coulson (Woman with the Log), Miguel Ferrer (Albert), Warren Frost (Dr. Hayward) are filmed for the last time. The series takes the form of a farewell to friends. Nothing but the plan of Harry Dean Stanton on his bench! We find him where he'd been staring at the stars at the end of A True Story. All these ideas are overwhelming. Even on the screen, under the guise of Gordon Cole, Lynch always walks with Albert and new recruit Tammy, and he needs besides Diane. He wants to gather everyone in his Noah's Ark.

Talking about a current film is a perilous exercise, especially when it takes on such a fragmented form. Our equally fragmented ensemble replaces the work, multiplies entries and celebrates ideas (hence "The Alphabet" in homage to its short film of 1968). Our wish is to accompany the readers whom Lynch will certainly have in the meantime brought to other worlds. To give also want to review the first episodes of the season because each is so new that it tends to erase the previous one. Now it is indeed a whole that presents itself, piece by piece. Review episodes reserves a different experience. It is an icy world, and yet it is well, because intelligence, curiosity, beauty, love, if they threaten to disappear, are everywhere in Lynch's eyes. In the old Twin Peaks, Gordon Cole, the filmmaker's spokesperson (or rather loudspeaker), was shouting in the middle of the chaos: "Let your smile be your umbrella." Let your smile be your umbrella.