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.
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
After Gene Siskel and Roger Ebert gave the film a negative review on their show, David Lynch issued a new poster calling the thumbs-down verdict "two more reasons to see Lost Highway." Asked for his opinion, Gene Siskel said, "I found it petty." See more »
[to a tailgater after running him off the road]
Don't tailgate! Don't you fucking ever tailgate! Do you know how much space is needed to stop a car traveling at 35 miles per hour? Six car lengths! Six fuckin' car lengths! That's a hundred and six fuckin' feet, mister! If I had to stop suddenly, you woulda hit me! I want you to get a fuckin' driver's manual, and I want you to study that motherfucker! And I want you to obey the the goddamn rules of the road! Fifty-fuckin' thousand people were ...
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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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