The respected Sight & Sound set forth a maelstrom of debate by including David Lynch's inerasable existential nightmare Twin Peaks: The Return in its list of 2017's best feature films.
Buttressed by Lynch's own assertion that The Return was an "eighteen hour feature", the debate was almost fitting for a work exploring duality. Though the limited event series adopted several TV tropes - Dale Cooper electrified himself in Part 15's electrifying cliffhanger, the identity of Dale Cooper's own investigator was similarly withheld from Part 4 to tease the dramatic tension, its labyrinthine plot was literally staggered on an episodic, week-to-week basis - it bore many artistic and practical hallmarks of cinema.
Overseen with full auteur control by Lynch himself, The Return was filmed with the production schedule of a motion picture. Filming mostly took place on location. There was no writer's room, but rather a pre-written script lead actor Kyle MacLachlan compared to a telephone book. Ultimately, like the Giant and the Little Man From Another Place in the original series, The Return was "one and the same"; an epic multi-genre cinematic odyssey in defiance of and in keeping with its televised tradition. If it were, without doubt, a feature, it would occupy slot #1 for its astonishing and somehow complementary tonal range, from the warm resolution of a lifelong love affair to the devastating deconstruction of its heroic archetype.
Since its classification is yet another Lynchian mystery...