The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Fred Madison, a saxophonist, is accused under mysterious circumstances of murdering his wife Renee. On death row, he inexplicably morphs into a young man named Pete Dayton, leading a completely different life. When Pete is released, his and Fred's paths begin to cross in a surreal, suspenseful web of intrigue, orchestrated by a shady gangster boss named Dick Laurent. Written by
David Lynch said he has only recently (2002) realized what subconsciously inspired the film: the O.J. Simpson trial. He said that the trial was a major influence on his mind during the stage of writing this script, which deals with a man who killed his wife. Curiously enough, Lynch cast Robert Blake to play the Mystery Man, who is a major character in the film - years later, Blake would be put on trial for killing his own wife. See more »
I'm really glad to know you're doin okay. You're *sure* you're okay? Everything alright?
I'm really glad to know you're doin good, Pete. Hey, I want you to talk to a friend of mine.
We've met before, haven't we?
I don't think so. Where is it you think we've met?
At your house. Don't you remember?
No. No, I don't.
In the East, the Far East, when a person is sentenced to death, they're sent to a place where they can't escape, never knowing when an executioner may step up behind them, and ...
[...] See more »
Clearly, as with most of David Lynch's films, Lost Highway is not for everyone. It is, as Lynch intended it to be, a film realization of a dream. In this regard, it is comparable, in terms of artistry and raw intensity to Kurosawa's _Dreams_. Indeed, in terms of sensory experience - cinematography and sound, for example - Kurosawa and Lynch have few rivals. However, the comparison falls away rather quickly in consideration of the film's content. Lost Highway is really no dream, but a nightmare.
Let's face it, like it or not, everything Lynch does is intentional. This film has inspired polarized reviews here on IMDB. Those looking for a plot-heavy movie that they do not necessarily have to pay attention to tend to despise it. Those who are open to allowing this manipulative, intensely disturbing and thought-provoking film to carry them into its own parcel of hell love it. This is, in my opinion, what good art can do.
Like a dream, Lost Highway has as many plots as it does viewers with their own individual interpretations and perspectives. It forces itself upon you with a vengeance, but simultaneously encourages the kind of disengagement you experience when you are conscious that you are dreaming.
I recommend Lost Highway highly. See it with intelligent, open-minded friends who like to talk about film experiences. And expect that the conversation will keep you up way past your bed time.
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