Surrealism, as the art of its time, proposes a new aesthetics, one that is able to extract the beautiful from the absurd and to establish the swerve from the standard, from which, in fact, the real comes through. Through the analysis of some works by David Lynch, of Breton and Soupault's Les champs magnétiques, and of Breton's Poisson soluble, I will attempt to show the relevance of the surrealist designation for the work of the American filmmaker. Lynch, like the surrealists, builds a dialectic operation between the rational and the irrational. While operating in the artistic field towards absolute irrationality, Lynch does not deny its role in society. It is my belief that the director, as the surrealists, has managed to find a balance between the two ways of being in the world: rational and irrational; by playing with their antitheses. The pleasure of the surrealist game is to go to the depths of the unconscious and return with sufficient material to make a work of art out of it.
surrealism; David Lynch; André Breton
