After a bizarre encounter at a party, a jazz saxophonist is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a young mechanic and begins leading a new life.


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Cast overview, first billed only:
John Roselius ...
Louis Eppolito ...
Ed (as Lou Eppolito)
Jenna Maetlind ...
Party Girl
Guard Mike
Forewoman (voice)
Leonard Termo ...
Judge (voice)
Ivory Ocean ...
Guard Ivory
David Byrd ...
Gene Ross ...
Warden Clements


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 <>

Plot Summary | Plot Synopsis


Mystery | Thriller

Motion Picture Rating (MPAA)

Rated R for bizarre violent and sexual content, and for strong language | See all certifications »

Parents Guide:






Release Date:

21 February 1997 (USA)  »

Also Known As:

Carretera perdida  »

Box Office


$15,000,000 (estimated)

Opening Weekend:

$212,710 (USA) (21 February 1997)


$3,796,699 (USA) (18 April 1997)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

2.35 : 1
See  »

Did You Know?


Guard Johnny Mack: Captain Luneau?
Captain Luneau: Yeah, Mack?
Guard Johnny Mack: Captain, this is some spooky shit we got here.
See more »

Crazy Credits

A Real Trooper-Guadalupe Hurst See more »


References Nadja (1994) See more »


Written by Richard Kruspe (as Kruspe)/Till Lindemann (as Lindemann)/Paul Landers (as Landers)/Flake Lorenz (as Lorenz)/Christoph Schneider (as Schneider)/Oliver Riedel (as Riedel)
Courtesy of BMG Songs, Inc. (ASCAP)
o/b/o Edition Rammstein/Musik-Edition Discoton Gmbh.
Performed by Rammstein
Courtesy of Motor Music
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Frequently Asked Questions

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User Reviews

1 December 1999 | by (Hazelhurst, Wisconsin) – See all my reviews

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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