Cemetery Man

Zombies, guns, and sex, oh my! The most lynchian film to not be directed by Lynch that I’ve ever seen. The film you’d get if Lynch made quintessential creature films in the 80s. And like (almost) every Lynch film this film as well, was fantastically written, had an beautiful soundtrack and leaves you confused at the end– confused about what you’ve just watched and what it represents. But not only that– it keeps lingering in your mind days after finishing it. And that’s the case with this film as well. I was initially gonna give like a 4, however this film hasn’t left my mind since and the more I think about It, the better it becomes.  The problem however is, is that this film isn’t as popular as most Lynch’s work, so it was hard to find a good essay or review or video or whatever that explained the deeper meaning behind this film– and not just explains every event in detail (I’ve seen the film, cheers mate). The explanation that for me, made most sense went more or less like this:  There is a man named Franco, who used to be an engineer. His family-matters didn't go well, so he cheated on his wife with a hooker he fell in love with. He couldn't comprehend why she didn’t reciprocate his love and killed the whore out of jealousy of her clients. After the murder of the one he loved, he went insane and went out on a killing spree (7 pedestrians and his family). He is now in a hospital in a coma (an attempted suicide) and his mind tries to work out death and love (morte e amore). This is where the movie begins. Everything takes place in Franco’s head. Franco's hospital room has no doors and no walls; he lies in the dark. This represents the coma he’s in, Francesco’s world, Buffalore. Francesco represents Franco’s dark side, the murderer, who has taken over Franco’s mind. Gnaghi symbolizes Franco’s good side. Gnaghi likes it when the sun shines; Francesco thinks that's when the weather's gone bad. Gnaghi can complete the skull puzzle (a metaphor for death) he understands and accepts death; Francesco cannot. Francesco is obsessed by this incomprehension, marking the phonebook up. Gnaghi burning the phonebook could be seen as his trying to help Francesco deal with death. The ‘returners’ in the movie attack those people who can't understand death. E.g. She’ being bitten by her husband (for having sex above his grave), Francesco being bitten by his dead girlfriend. Only Gnaghi can have a meaningful relationship with a zombified head. The returners also symbolize Franco’s inner demons (feelings of guilt) which haunt him and which he tries to fight off. Every time Francesco is on the phone with Franco, returners appear– his guilt surfaces. ‘She’ is his worst returner– she keeps coming back, killing her was his biggest mistake. His love and lust for her brought all these problems upon him/Franco, so he wants to get rid of his wiener. Now this is only a theory but many events in the film confirm this. Now wether I’m right or wrong– it only shows the beauty of this film. Like many Lynch films you’re left with questions, many unanswered, making the film stuck on your mind for sometimes days after finishing a film. Random Italian Lynch guy, you’re awesome! 87/100 —————————————————————————-10 friends, 10 recommendations5/100Recommended by: W I L K Y