Inland Empire 2006

The film opens with a nostalgic atmosphere, as an old vinyl spins “the longest-running radio play in history,” accompanied by indistinct, filtered voices resonating through time. The scene transitions into a dimly lit hotel hallway where two figures, a man and a woman, their faces obscured, stumble into a hotel room. Speaking in Polish, the man instructs the woman to undress, an act she performs with visible reluctance. When he queries her on the nature of whores, she straightforwardly replies, “they fuck,” suggesting her role as a prostitute.

In a different hotel room, a woman with raven hair, referred to as the Lost Girl (Karolina Gruszka), is seen crying while fixated on a television program. The show features a surreal sitcom about anthropomorphic rabbits engaged in absurd conversations, interrupted by a nonsensical laugh track. As the male rabbit reveals a secret to the female, a mysterious knock at the door changes the scene, captivating all present. The male rabbit ventures out, leaving it ambiguous what lies beyond.

The narrative shifts to an elderly woman with prominent eyes, portrayed by Grace Zabriskie, who ambles through a quaint suburban neighborhood, disoriented. Approaching the strikingly lavish home of Nikki Grace (Laura Dern), a celebrated actress, she introduces herself as the new neighbor and expresses her desire to meet. The elderly woman mentions Nikki’s recent audition for a film, On High in Blue Tomorrows, insisting she got the role, much to Nikki’s confusion. The neighbor then recounts a harrowing tale about a boy who opened a door and glimpsed another world—ushering in an evil reflection—and shares another variation of the story involving a girl lost in an alley. When pressed about the film’s plot, Nikki states there is no murder involved, prompting the neighbor, increasingly erratic, to nearly lose her sense of time. As the conversation takes a surreal turn, time shifts, revealing Nikki receiving news of her successful audition.

After her casting, Nikki appears alongside her co-star Devon Berk (played by Justin Theroux) on The Marilyn Levins Show, a talk show reminiscent of The View. Here, they dismiss rumors of an on-set romance, with Devon’s entourage cautioning him about Nikki being “hands-off” due to her powerful husband. As the story progresses, Nikki and Devon gather on the studio floor with director Kingsley Stewart (Jeremy Irons) and his assistant Freddie Howard (Harold Dean Stanton) for a crucial script read. An unsettling incident disrupts their rehearsal, prompting Devon to investigate an eerie noise, only to find nothing amiss. Kingsley reluctantly divulges that their film is a remake of an unfinished Polish film, rumored to be cursed, raising questions about the blending of reality and narrative.

Throughout the film, interspersed are dramatic images: a woman severely wounded discusses vengeance with a police officer, hints of a deeply unsettling previous life echo through the narrative, and cut scenes reveal the macabre existence of prostitutes in early 20th Century Poland. In modern Poland, shadows of mafia dealings arise, indicative of a world intertwined with hidden threats.

One day, while grocery shopping, Nikki stumbles upon cryptic graffiti reading “Axx o Nn,” leading her to a door that ushers her into the depths of a movie studio. Here, engulfed by whispers, she races through a maze of her own memories, catching sight of herself and her colleagues from earlier in the production. Realization dawns as Nikki comprehends her own presence as an intruder; she evades detection beneath the facade of her character’s home. Crossing into this realm transforms the setting, revealing a surreal party populated by prostitutes dancing to 60’s tunes, where Nikki immerses herself in their narratives—smoking, dressing provocatively, and adopting their identities as if compelled by a magnetic force.

As the story spirals, it becomes apparent that Nikki embodies Susan Blue, her character, who resides in a suburban haven with her spouse, Smithy. At a garden gathering, Susan confronts two of the prostitutes from earlier, querying them with a question that they themselves posed earlier, “look at me, and tell me if you’ve seen me before.” In a twist of fate, she encounters a bizarre scene where a man holds a light bulb in his mouth, triggering instinctual fear, prompting her to wield a screwdriver as a weapon of escape.

With great urgency, Susan navigates Hollywood Boulevard, fleeing a relentless woman wielding the screwdriver. Attempting to evade the danger by hiding in a nightclub, she encounters a dubious figure known only as Mr. K (Erik Crary) and opens up in a raw, unfiltered monologue, revealing the scars of her childhood traumas. This series of events culminates tragically as she is stabbed by the harbinger of her fears, collapsing in a shop front as she is taunted by a trio of homeless figures, their imaginations running wild. Here, she draws her final breaths, imbibing a tapestry of sorrow before succumbing, leading to the moment where Kingsley calls “cut,” unveiling the orchestrated chaos of this performance.

Returning to her essence, Nikki finds herself wandering the streets back to an old hotel, where fate intertwines with her earlier encounters. Down a shadowy corridor, she confronts “The Phantom,” whom she ultimately shoots, distorting his visage into a horrific semblance of her own face, before morphing into a grotesque form. The scene shifts back to the rabbits, faced once more with the enigmatic door.

In a powerful conclusion, Nikki liberates the Lost Girl from her symbolic imprisonment, showering her with light and warmth. The Lost Girl, now reclaimed as the authentic Susan Blue, embarks on her journey home to the San Fernando Valley—joyfully reuniting with her husband and child. The film winds down, showcasing Nikki amidst a group of dancing prostitutes, merging into another vibrant gathering, encapsulated by the sounds of Nina Simone’s “Sinnerman,” while two lumberjacks signify the cyclical nature of life and performance.