What’s interesting about Eraserhead is how inherently and distinctively Lynchian it feels without the signature traits of David Lynch that people associate with him nowadays. Those who have a Netflix account and have watched various episodes of Twin Peaks will claim their love for David Lynch with proclamations about doughnuts and coffee and cherry pie, oh my, can you smell those douglas firs?! And yes, his fascination with food—especially of the saccharine variety—has a lot to do with his ideas about indulgence and sex and are central to his work, but Eraserhead is void of all that. It’s the bare-bones Lynchian aesthetic that established him as one of the most revolutionary independent filmmakers of all time. It has been almost seven years since his last film, Inland Empire (which got back to that very stripped, essential cinematic quality that was deeply imbedded in the frightening corners of the mind), and his interests appear to lie elsewhere these days. Who knows if he’ll ever make another film. But if he doesn’t, it’s at least safe to say that you could watch his films your entire life and still become excited and have questions, always stumbling through the woods into a red room of the mind.