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 brilliant surgeon, Dr. Génessier, helped by his assistant Louise, kidnaps nice young women. He removes their faces and tries to graft them onto the head on his beloved daughter Christiane... See full summary »
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
Lighting. That's the thing I remembered most from the first time I saw this film. Amazing lighting. Certain directors, Lynch included, are able to tell the story using camera movement, what's seen/not seen. Lynch, however, has taken that a step further with the way he chooses to light his scenes - he sculpts his shots in a manner that seems almost more like a theatrical lighting designer's work. The use of shadows within the home, the stark colors that accompany certain scenes, even the car lighting in the titles - all of this is used to draw the audience's attention to a certain point, and all of it thrills. With the terse, "European art-film" dialogue style (at first the most distancing thing I found in Lynch's work, it is now one of my favorite elements), sharp sound work, a strong cast, and the marvelous, spiralling structure of the film only reinforcing it's strongest feature - its atmosphere - this is a work that will be discussed long after the credits fade. In my short 22 years, the best film I've seen, bar none.
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