Austin Jack Lynch

When actress Nikki Grace gets the lead role in a cursed film, her world becomes more and more surreal, blending realities and ideas of infidelity, reincarnation, and supernatural forces.

Lost in thought, while staring at a silent bucket filled to the brim with water, David Lynch is shocked to discover that the ailing neighbour's chicken has gone missing.

Two hours of original content previously only available to paid up members of DavidLynch.com. This Best Of package includes 7 short films plus 3 intervalometer camera experiments. All shorts are written, directed, edited and scored by David Lynch with introductions from David before each item. Also includes 20 minutes of David Lynch answering an interesting variety of questions from members of his website. Contains The Darkened Room, Boat, Lamp, Out Yonder Neighbor Boy, Industrial Soundscape, The Bug Crawls, Inveralometer Experiments, Members Questions.

Humorous short film in which David Lynch and his son Austin observe the follies of their neighbor.

On a quiet winter morning, Austin, son of David Lynch, breaks his silence and decides to talk about his troubling functional incapacitation.

American auteur David Lynch opens up about the magic of the cinema in this new profile from Stella McCartney. Created by Lynch's son Austin Lynch and fine artist Case Simmons, the creative duo behind Los Angles-based studio Tête-à-Tête, their film offers us a rare insight into Lynch behind the lens, teaching us about his theory of film as well as his lifelong pursuit of transcendental meditation.

It’s winter in Berlin. Two couples meet, and although they exchange only a few glances and even fewer words, the outlines of an obscure plot emerge, as if a complex psychological thriller was unfolding just outside the frame.

It’s winter in Berlin. Two couples meet, and although they exchange only a few glances and even fewer words, the outlines of an obscure plot emerge, as if a complex psychological thriller was unfolding just outside the frame.

It’s winter in Berlin. Two couples meet, and although they exchange only a few glances and even fewer words, the outlines of an obscure plot emerge, as if a complex psychological thriller was unfolding just outside the frame.

A silent fisherman in Texas, a blazing oil field in North Dakota, a mysterious community in Virginia, a women’s prison in Oregon, and a modernist home in California are the ostensible subjects of Austin Lynch and Matthew Booth’s new feature, GRAY HOUSE. But as meditations upon nature, isolation, decadence, and destitution, they are flawless conduits for seamless blends of documentary and narrative form, and stunning explorations of sound, image, and cinematic time. Mysterious and elusive, yet possessing an aesthetic and sensory unity (appearances by Denis Lavant, Aurore Clément, and Dianna Molzan mix with direct addresses from real-life laborers and inmates), GRAY HOUSE quietly recalibrates one’s sense of the world and our place within it.

A silent fisherman in Texas, a blazing oil field in North Dakota, a mysterious community in Virginia, a women’s prison in Oregon, and a modernist home in California are the ostensible subjects of Austin Lynch and Matthew Booth’s new feature, GRAY HOUSE. But as meditations upon nature, isolation, decadence, and destitution, they are flawless conduits for seamless blends of documentary and narrative form, and stunning explorations of sound, image, and cinematic time. Mysterious and elusive, yet possessing an aesthetic and sensory unity (appearances by Denis Lavant, Aurore Clément, and Dianna Molzan mix with direct addresses from real-life laborers and inmates), GRAY HOUSE quietly recalibrates one’s sense of the world and our place within it.

A silent fisherman in Texas, a blazing oil field in North Dakota, a mysterious community in Virginia, a women’s prison in Oregon, and a modernist home in California are the ostensible subjects of Austin Lynch and Matthew Booth’s new feature, GRAY HOUSE. But as meditations upon nature, isolation, decadence, and destitution, they are flawless conduits for seamless blends of documentary and narrative form, and stunning explorations of sound, image, and cinematic time. Mysterious and elusive, yet possessing an aesthetic and sensory unity (appearances by Denis Lavant, Aurore Clément, and Dianna Molzan mix with direct addresses from real-life laborers and inmates), GRAY HOUSE quietly recalibrates one’s sense of the world and our place within it.

An overview of the making of Terrence Malick's The New World (2005).