Filtering The Wizard of Oz through the lens of David Lynch, Phillippe and his guests find those energies in close proximity to each other, using two deceptively different visions of America to suggest that our dreams and nightmares have never been as far apart as they seem.Wild at Heart was the film with which I became conscious of David Lynch as a director, and which had a major role in awakening me to the very idea of the director itself. In one of the few reviews of the film that has so far been posted, from its premiere at the 2022 Tribeca Film Festival, IndieWire critic David Ehrlich wrote that “ Lynch/Oz is at its best when it’s at its most illustrative - spiking familiar clips with new context, or arranging side-by-side comparisons that hear uncanny echoes between Victor Fleming’s family classic and David Lynch’s most haunted work. Related: The Wizard of Oz: The Real Story of the Famous Production

While none of the titles of Lynch’s films are summoned for the trailer, one can expect that such cinematic and small-screen landmarks as Blue Velvet, Wild At Heart, Mulholland Drive, and Twin Peaks will be followed down the yellow-brick road all the way to Emerald City for the ultimate peak behind the curtain. It gives a feel for the forum in which the theories and insights into the director’s fandom for Fleming’s iconic fairytale and how it influenced his work. While the trailer features no footage from either The Wizard of Oz or Lynch’s filmography, it still presents the tone. “A fitting tribute to Lynch,” goes the last pull quote from The Wrap before the film’s title fills the screen with the eerie noise, now intertwined with a murmuring synth, growing louder before abruptly fading off. We then hear the voice of acclaimed documentary filmmaker Rodney Ascher, who ponders, “Why would Lynch be that absorbed with The Wizard of Oz? Did he watch The Wizard of Oz on a perfect day, a perfect time as a child, and it’s sort of baked into his subconscious?” “ Lynch/Oz is cinematic catnip,” declares The Film Stage in another bit of text. The run of disembodied voices begins with Variety, and KPCC Film Week critic Amy Nicholson, who states, “I do see the story of The Wizard of Oz as the story of David Lynch himself becoming a filmmaker.” Text next to a close-up shot of a microphone on the theater’s stage tells us that Rolling Stone says that this is “A must for film nerds.” Then we hear cult sensation filmmaker John Waters put forth that, “David has gone over the rainbow from the very first film ever, he lives in a different reality than you or I do, and that’s quite obvious.”

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