After Lynch’s Wild at Heart Palme d’Or triumph at Cannes, Twin Peaks: Fire Walk with Me was met there with overt hostility and cascading boos. An extended epilogue to the legendary, unprecedented Twin Peaks television series, the film represents a marked departure from the tone of the series, delving far deeper into the dark psychology and trauma of abuse in its depiction of the last seven days in the life of Laura Palmer (Sheryl Lee). Ostensibly the All-American prom queen, Laura’s experiences at the end of high school are far removed from what she’s supposed to be; her father, Leland Palmer (Ray Wise), is unable to control his jealousy, sexual depravity, and rage, while her mother, Sarah (Grace Zabriskie) stands shell-shocked in a weird form of inaction. In the end, perhaps the Cannes audience—and the subsequent American audience—was expecting a perfect extension of the engrossing TV series, but what we ended up with is a film that, upon reassessment, is one of Lynch’s major works, encapsulating the contradictions of small-town America in its own idiosyncratic and wholly terrifying way. “Twin Peaks [:Fire Walk With Me] is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.”—Jacques Rivette. “Twin Peaks is a very mysterious place. It puts me into a state of dreams. Into dark dreams. Twin Peaks is everywhere. It’s not a place. It’s a condition.”—David Lynch.