At Giunti Odeon, the second appointment of The Big Dreamer retrospective: the cinema of David Lynch, with his first extraordinary film, Eraserhead, in a splendid new 4K version. Harry Spencer, a strange little man with a very peculiar hairstyle, is a rather odd lonely printer who lives in a desolate flat in the suburbs of a big city that seems to have survived some disaster or economic downturn or, more likely, an apocalypse. Harry is forced to marry his fiancée Mary, who has become pregnant. When the child is born, he is in essence a monster and things, already complicated, become even more complicated. The plot, difficult to summarise and at times even indecipherable in its apparent linearity, is probably the last thing that counts in this film, a brilliant container of suggestions, macabre anxieties and acute socio-psychological reflections that chase each other each time surprising and disturbing. Born in an underground context, David Lynch's first feature film went from New York art galleries to cinemas all over the world in just a few months. The first incunabulum (but for some the most radical and hypnotic) of Lynch's visions: avant-garde b/w, apocalyptic narration, inexplicable events and horror everywhere. Science fiction and the occult twisted forever, according to a decidedly surrealist logic.