Mulholland Drive

What the fuck did I just watch?

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mulholland-drive.net/studies/theories.htm
theguardian.com/film/2001/may/11/cannes2001.culture
youtube.com/watch?v=qZowK0NAvig
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Mulholland Drive

a shit movie praised by pretentious students who think its cool cause they don't even understand it themselves and then they fill their inner void by circlejerking over it for an eternity and shove into sane peoples faces

A decent movie spiral into shitness.

You got Lynched, bro.

...

tbf the first 90 minutes is a straight forward thriller, then it goes to shit.

What even was the point of that scene?

should have been shorter. The editing was crap. Great soundtrack though

these people are retarded, seriously don't try to discuss movie like this with them, it will lower your enjoyment of it. just read this shit and rewatch the movie.

mulholland-drive.net/studies/theories.htm

if i see that cat one more time

>movies is so bad it needs its own website full of theories about it

kek .. i bet you unironically like Primer too

no, i fucking hate primer dude
got anything else?
david lynch is the only one to ever pull off muh puzzlebox movies, you probably think the prestige is good

>he sees the bum monster in his dream
>then he sees the bum monster
>therefore, the movie is a dream

>Contained within the original DVD release is a card titled "David Lynch's 10 Clues to Unlocking This Thriller". The clues are:

>1. Pay particular attention in the beginning of the film: At least two clues are revealed before the credits.
>2. Notice appearances of the red lampshade.
>3. Can you hear the title of the film that Adam Kesher is auditioning actresses for? Is it mentioned again?
>4. An accident is a terrible event—notice the location of the accident.
>5. Who gives a key, and why?
>6. Notice the robe, the ashtray, the coffee cup.
>7. What is felt, realized and gathered at the Club Silencio?
>8. Did talent alone help Camilla?
>9. Note the occurrences surrounding the man behind Winkie's.
>10. Where is Aunt Ruth?

What did he mean by this?

Lol these questions are more confusing than the film

David Lynch's second worst feature film.

diane is dreaming. we see rita (a character in diane's dream) lay down and go to sleep, and then this sequence happens: which involves a man recounting a dream that he had, and encountering the same dream play out in his reality. this ends up being reflected in diane's reality, when the bum does actually exist behind the restaurant and releases her tiny little grandparents that drive her to suicide

lol really
i love david lynch for trolling people with these

>1: Heavy breathing, she lays her head down on the pillow. This is a scene right before her suicide.

>2: Yeah that happens a few times, I forget what it's a signifier of. They pan to it before the phone call where Camila invites Diane to the house on Mulholland Drive.

>3: I forget.. The Sylvia North Story? It's the same movie that Diane says she auditioned for when she came to Hollywood. In her dream she makes Kesher out to be a bad guy because of this.
>4: The accident is at Mulholland Drive, the terrible event is the dinner party.
>5: Aunt Ruth, to stay in the apartment. The hit man, as a signal that he killed Camila.
>6: Yeah, those are all items that signify the past, her lesbian lover shows up and takes the ashtray I think.
>7: A bunch of shit. She realizes the reality of her situation, the deepness of the dream that she is stuck in, that "there is no band" and that this reality is constructed. That she's in an eternal hell.
>8: No, Camila slept with a director. Also, "Camila" in the dream was selected and ushered into the movie secretively.
>9: Discussed above
>10: Aunt Ruth is dead, baby!

Prime is a great movie.

Why did this movie look and sound so cheep. It's like watching a soap opera, nothings cenimatic about it.

the first half was shot for primetime abc

It was literally made as a TV pilot. When it didn't get picked up, they shot an hour of extra footage and made it a movie.

old alkie lesbo is "jitterbugging" her way through rehab, reliving her lifes memories & trying to hide from reality

its the same basic idea as the guy on death row trying to hide from death he used in lost highway


>only 20 year olds are confused by lynch

That explains a lot

Diane paid Jacob from L O S T to give Camilla her big breakout role.

When she sees the blue key again at the end, she realizes that her investment in Camilla was wasted and she won't be able to enjoy a happy life with her. She doesn't literally commit suicide.

Autism

that doesn't excuse it looking like bullshit merely explains the WHY and it certainly doesn't mean that the movie should be regarded as anything other than bullshit
>LYNCHfags will defend it anyways

All these people saying that this is a movie for pretentious art students and that this movie is impossible to understand are literally borderline retards and that's also why we need a /film/ board.

it was a shit film that was totally unfinished and unrealized masked by some vague notion of being 'deep'. it's not deep or insightful it's shit, like most of his work.
theguardian.com/film/2001/may/11/cannes2001.culture

feature-film version of Mulholland Drive. It's a project wrung from the wreckage of a failed TV pilot that claimed a year of his creative life and, for a while at any rate, existed only as a ghostly tape passed from hand to hand among industry insiders.

the only movie of his i remotely liked was eraserhead, which is pretty sad considering it was shit.

If you don't mind, here's a bit of analysis for the "Nightmare of the Horror Behind the Diner" sequence --something that might give you an extra shiver, concerning the "universal" psychology that undergirds this scene:

Check this out: In that "let's follow-through-and-see-if-this-dream-of yours-comes-true" sequence, where one man tells his friend his "worst nightmare," about what he'll find behind the dumpster --and then they both walk back to be shock-confronted by a filthy, blackfaced "trashman"... --do you know who that repulsive "being" is? It's an "everyday Hollywood bum" --who serves as the "polar opposite" distaff image of the guy who's telling his dream in Winkies (and, also, she's yet another "projected/manifested" version of the Diane character...who is, herself, just one face of the Unseen Dreamer that is the key to this entire film --as I'll try to explain further, below).

In other words, for the seemingly well-off, well-dressed man, Dan, describing his awful nightmare, his greatest terror is that he will LIKEWISE turn out to be yet another typical "Hollywood story": That is: Someone who came to the city to "be somebody"...and failed so utterly that he becomes a homeless "horror-story" of a man, living off garbage behind a restaurant. (And to give this tale the sweaty kick of "possibility," the person playing the trashman is cast for her resemblance to Patrick Fischler --the same long face, high cheeks, prominent nose-- so that she becomes his "female equivalent/dark mirror image") and it's structured like the story of a delusional man who has hidden this "reality" from himself...who has the shock of finally coming to his senses and seeing that it's POTENTIALLY TRUE. He isn't "comfortable, successful" --he's really just a doomed bum --or, a man who could "turn into that nightmare" at any moment.)

This mini-tale fits perfectly with the "bookend" imagery that provides the framework for this entire film: The gasping unseen female dreamer in the bedroom at the beginning of the film...who dies in the blackness of her own pillow at the end of the movie.

This entire film can thus be seen as her fevered (and surreal) fantasia about coming to the "City of Dreams" as a naive ingenue...and ending up as a dusty has-been/neverwas in a sad no-name motel room. And that "dumpster story" is just one of the internalized tales that support, reflect, and illustrate her "life" --as was the episode with the corrupt evil old couple who pick up a version of her and give her a ride into the city...only to insanely laugh at her stupid innocence behind her back, as if they know she's doomed to personal moral desecration and impoverishment.

OK, so what was with the cowboy?

Someone quickly tell me if this is worth watching because I just started it but realize I can spend 2 hours watching porn instead

Mulholland Drive threads bring out the best and worst posters of Sup Forums, and it shows.

So in that regard you're exactly like the art students but instead of shoving the movie itself into people's faces you shove your hatred of it.

Just watched this last night, too. I get the argument of people saying Lynch is a hack for sewing together meaningless clips of cinema and releasing it with the excuse "lol it's a freaky dream man", but at the same time I admire the thought it took to emulate very well the strange, liquid, ephemeral feeling of a dream and impose it on an audience, wide-awake.

As for the loose ends, I feel like it just adds to the senselessness that all dreams have. Sure, you could say he's pretentious, but I genuinely think he crafted this movie with calculus, and made good use of every element in it.

>I hope I never see that face outside of a dream

I like The Lost Highway, it's edgy and I like the nightmare themes but I agree, I want to like David Lynch but sometimes I wonder just wtf i'm watching, It seems like some 2deep4me shit and I don't want to have to search the internet for 4 hours of other dipshits theories to make sense of his latest movies...

You can skip it, one long buildup to a soft core lesbian scene "THE MOVIE"

The homeless woman represents the evil inside of her

ITT: criticizing a movie without even understanding it

...

Lynch is one of the most anti-pretentious filmmakers in the history of cinema. The only truly pretentious thing about him is the extent to which he focuses on shocking his audience with abrupt descents into the surreal (like how Mulholland Dr. was a pretty straightforward movie until they find the dead body, at which point it doubles down on weirdness). Besides shit like that though, he can only be labelled pretentious by people who either don't perceive any complexity in his work (which is fine, I guess, just wrong imo), or by those who feel they're not "getting" something and mask their insecurity by calling him things he isn't.

And I can't recall a single moment where it looked like Lynch was desperately trying to be deep, either. That's another thing. His movies aren't complex thematically, they're complex in the way he tells his stories.

>you shove your hatred of it.

its a failed TV plot stiched together for no reason full of nonsense ... its just a fucking MEME

there is literally nothing to it .. don't you realize that oyu got tricked by David Lynch? hes laughing his ass off cause you people eat this garbage up

This movie is confusing I don't understand a thing
Why is this a meme?
Explain yourselves autists you have 5 seconds

>His movies aren't complex thematically, they're complex in the way he tells his stories.

probably the best explanation of Lynch I've seen. I personally don't like it as it's too post-modern to me and how the acting and dialogue in his films seem so wooden

He probably is. I'm indifferent to the movie though. It's just that there's no reason to outright hate it unless you feel it insulted your intelligence or lack thereof.

I like horror, especially surreal, supernatural, and psychological horror. I find it funny that some of my favourite horror scenes are Lynch's. He's not even a horror filmmaker and he makes better horror material than many whose whole career is exactly that.

The diner scene/cowboy character in M.D., the short pale guy in L.H., and his image/sound design. It adds so much eeriness, the way he surreally shifts the focus of the camera and the sound during the most otherwise open areas, like the party where the creepy guy tells the other to call him at HIS house, and the scene where the director is watching auditions for a film, and has to pretend to be impressed by that one actress from the photograph.

I haven't even seen all of the guy's films, or all the way through, but those scenes of his are memorable in their scariness. Oh yeah, and the face distortion thing in I.E is frightening, as well as that scene where she's maniacally cackling while stumbling down the sidewalk while that Beck track plays.

The guy can turn any innocent encounter into the most nightmarish shit imaginable. It's doubly impressive because it isn't overt in its presentation, no gore or similarly easily ghastly or grotesque imagery, only atmosphere, and maybe some unnerving cosmetics and dialogue, too.

Bravo, Lynch.

An intelligent post accompanied by a dumb frog image. That's a first. Bravo.

>I.E.*
Anyways, I suppose 'menacing' is the appropriate word. He can make the most seemingly innocuous scenarios menacing as hell.

Well said.

>The guy can turn any innocent encounter into the most nightmarish shit imaginable. It's doubly impressive because it isn't overt in its presentation, no gore or similarly easily ghastly or grotesque imagery, only atmosphere, and maybe some unnerving cosmetics and dialogue, too.

I agree, I think a lot of people itt get too hung up on breaking down his movies analytically whereas imo hes more focused on the affective side of things.

>7. What is felt, realized and gathered at the Club Silencio?
For example, there's nothing explicit about how the club scene moves the narrative along. He conveys the message through sheer emotion.

>youtube.com/watch?v=qZowK0NAvig
>I'm at your house right now

>ofw (our faces when) watchin' some good ol' Lynchian horror-kino