u/Connect-Plant-7744

I’ve watched the "Baptism" scene 20 times this week.

In my latest analysis for Film Abyss, I’m looking at the idea that Daniel doesn't hate Eli because he’s a "false prophet." He hates Eli because they are the exact same man. Both are salesmen, both are performers, and both are using a "higher power" (God vs. Oil) to exert dominance over a town that doesn't know any better.

The "Milkshake" scene isn't about a murder; it’s about a man finally breaking the mirror so he can be alone in the dark.

Is Plainview the most "honest" character in cinema, or is he just the most successful at lying to himself? I'd love to hear some deep-dives on the final "I am finished" line.

https://youtu.be/Q68zPGX9DcM

There’s a city built on a hill that does not exist.

I’ve spent a lot of time "running the projector" on this film, trying to find the exact line where the dream exhales and the nightmare begins. I think the key isn’t in the blue box—it’s in Betty’s eyes.

During the audition scene, Betty performs a predatory, uncomfortable scene without blinking a single time. Not once. But when we see Diane in the "waking" sequences? She blinks constantly. She’s exhausted. The dream is more "awake" than the woman living it.

I just finished a deep cinematic study on why the city of Los Angeles is a loop designed to eat its dreamers. If you’re a fan of Lynch’s "nightmare logic," I’d love to hear your thoughts on this.

https://youtu.be/BbHQTMtTJ5E

Come and See is ranked in Letterboxd's top 5 films ever made. It has almost no serious analysis on YouTube. I want to talk about the ending — Flyora pointing the gun at Hitler as a child and lowering it. What does that moment mean to you?