It is impossible to classify David Lynch's filmography into specific concepts and definitions, and it is extremely difficult to determine which of his films is the ideal starting point to dive into it. But this starting point could be 'Blue Velvet', perhaps the one that most concentrates his aesthetic and thematic interests in a more digestible, though no less strange and disturbing way. Just like 'Twin Peaks' would do years later, 'Blue Velvet' proposes a Dantesque journey to the dark depths of the American way of life, behind the facade of peaceful neighborhoods with white fences, colorful gardens and united families, a direct and bold look at all the dirt that lies beneath the roses.

The films of David Lynch often divide opinions: you either love them or hate them. The director has a peculiar way of adapting his ideas - bordering on nonsense and dark. 'Absurda' is disturbing and strangely captivating. It is worth noting that surrealism is present, a very common trait in Lynch's works. Those who have followed the series 'Twin Peaks' or watched 'Eraserhead' will notice the very Lynchian traces. The film is part of a collection entitled 'Cada Um com Seu Cinema', a special to celebrate the 60th anniversary of the Cannes Film Festival, released in 2007, which also features collaborations from other directors. At the time, the production was titled 'Absurda', but the director released the film with the name 'Scissors' on his YouTube channel - which is available to be viewed for free.

Few filmmakers could film a spider eating a bee and call it art. Even fewer would put that footage on the internet for general appreciation. And only David Lynch would be praised for it. That's what happened with 'The Spider and the Bee', a short film Lynch shot and released during the new coronavirus pandemic while he was self-isolating at home. Here, over 12 minutes, Lynch captures a spider in full attack mode on a bee. What could have been banal, however, becomes a chilling product with custom sound editing, giving depth to the home video. It's obviously no 'Eraserhead'. But it's still something worth noting. Available for free on YouTube.

With totally and absolutely surreal aspirations that discard all traditional narrative logic, 'El imperio' ('Inland Empire') is, so far, the last feature-length film by David Lynch ('Eraserhead'). It is also David Lynch in his most "lynchian" mode, offering here what appears to be a story of an actress (Laura Dern) who, when submitting to filming the remake of an unfinished and supposedly cursed movie, gradually loses her contact with reality. The result is a challenging three-hour footage that follows a similar line to 'Por el lado oscuro del camino' ('Lost Highway') and 'Sueños, misterios y secretos' ('Mulholland Drive') -unofficially forming the 'Trilogía de Los Ángeles'-, interweaving various nightmarish stories whose relationships between them are abstract at best, filmed in digital video format that exalts its delirious aesthetics. Definitely it would be the worst movie for those interested in entering Lynch's filmography, although fans of the director will not only know what to expect from this feature-length film, but will also see his most ambitious, grotesque, sublime, and deliciously confusing and impenetrable work.