The term “Lynchian” often gets thrown around in conversation surrounding the abstract or, in reference to, anything outside of linear, straightforward cinema.

Considering David Lynch’s own skewed relationship to the mainstream, the term becomes comparably pervasive as a descriptor for media that lacks the kind of depth and sincerity found in Lynch’s work. These qualities are contextualized in Alexandre O. Philippe’s “Lynch/Oz,” a thoughtful collection of video essays that weaves together an exploration of the Hollywood classic as a throughline in Lynch’s work.

Philippe follows the yellow brick road, and, with his chosen ensemble consisting of both writers and filmmakers, the director aims to dissect the crossings between Lynch’s unique fusion of tones with his greatest influence, “The Wizard of Oz.” Each essayist delivers a 15 to 2o minute revelatory reflection on the subjects at hand: their adoration of both “The Wizard of Oz” and David Lynch, and how often Lynch observes similarities of himself in the Hollywood classic.
Motifs, such as the ruby slippers or the ominous presence of someone behind the curtain, are closely inspected in clips from various moments in Lynch’s career. Broader motifs like the overwhelming proximity to evil in Lynch’s villains loom large, just as the Wicked Witch of the West looms over the land of Oz. Another compelling similarity between Oz and Lynch’s works involves the essays’ attention to the life of Judy Garland, aside from her illustrious career, as a reflection of the darkness of Hollywood’s systemic oppression. This topic resonates with Lynch who often develops his narratives to include depictions of naïve and oppressed young women.

Philippe emphasizes cinema’s influence on the essayists, and the subjects’ interaction allows the audience to comprehend the writers’ responses to the juxtaposition of constantly being in between both fantastical and realistic worlds and cinema’s ability to transcend reality. After all, the central message of “The Wizard of Oz” always resonates with movie enthusiasts. When the film switches from black and white to color, its visual transition opens the audience to a different world outside of its own, suggesting that the experience of movie-going becomes the spectacle of cinema itself.

As the documentary puts it, the story of “The Wizard of Oz” is the story of David Lynch becoming a filmmaker. Phillipe is interested in celebrating Lynch’s career while attempting to echo the impact “The Wizard of Oz” sparks to encourage viewers to return to the cinema.

Lynch/Oz opens at Ybor City’s Screen Door Microcinema on Saturday, July 15 at 7 p.m. with an additional showing on Sunday, July 16 at 3 p.m.