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
Something Wicked This Way Comes
Performed by Barry Adamson appearing courtesy of Mute Records Ltd.
by arrangement with Warner Special Products.
Written by Barry Adamson (courtesy of Mute Songs and Windswept Pacific) and contains excerpts from
Written by Harry Middlebrooks (as H. Middlesbrooke), Mike Shapiro (as M. Shapiro),
'Buddy Buie' (as B. Buie) and J.R. Cobb and published by Lowery Music Co. Inc.
2) "Blues Lines"
Written by Robert del Naja (as R. Del Naja), Grant Marshall (as G. Marshall), Mushroom Vowles (as A. Vowles) and Tricky (as A. Thaws) and published by Island Music Ltd. and
3) "Le Temps Des Souvenirs"
Written by Jacques Datin (as J.J. Datin), Maurice Vidalin (as M. Vidalin) and Charles Blackwell (as C. Blackwell) and published by EMI Limited Partnership Ltd. See more »
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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