David Lynch:

I’ve been deeply influenced by David Lynch, especially Twin Peaks. It’s not something I deliberately reference, but when I look back at how I build structure, I often realize I’m chasing a similar thing—what he offers: a space saturated with emotion, but sparse in information.

Lynch’s works rarely follow linear logic. Sometimes you think you’re watching a plot, but you’re actually being pulled into a climate of dreaming. Narratives fragment, time collapses, characters are themselves and not themselves. Through awkwardly serious dialogue, long pauses, low-fi effects, he suspends the viewer in a space that feels “almost logical, but somehow wrong.”

​

What I take from his work is this: you don’t have to explain the dream. You can let the work become the dream. Not describe it, but generate it. That’s crucial for me—it reminds me that expression isn’t always about articulation. Sometimes it’s about dragging the viewer into a space of uncertainty and sensory pacing.

​

In Who’s There?, I attempt to build this “unfinishedness” through AI-generated imagery, stream-of-consciousness editing, and the bodily design of the viewing posture. I don’t want the images to be understood—I want them to be felt. Like a dream slowly unfolding that never quite comes together.