Post your best essays/analysis about this. Links appreciated

Post your best essays/analysis about this. Links appreciated.

No pleb tiers analysis that focuses on "muh trying to make sense of plot" That's normie stuff. Instead post stuff about filmography, meta analysis, philosophical thoughts, etc.

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Inb4 sjw critic hulk analysis

>MUH Buddhism

Well no good write ups to share ?

Bump for interest

it's pretentious shit and it doesn't mean anything.

youtube.com/watch?v=qfQE0SOGG-g

t. Brainlet

I have some links but you probably wouldn't understand them unless you graduated from an Ivy

poop goblin

Lesbian hire killer to kill other lesbian. Than she killed herself from regret. That's it

All of the things you are looking for don't really exist because it's a pretty straightforward movie

You didnt read the OP. We all know the plot because it is indeed simple. He wants some analysis of cinematography and stuff

Lynch returns to his favorite filmmaking technique, of creating a multi-layered storyline puzzle that somehow loops around itself, with Mulholland Drive (2001). The film is based and built around Hollywood's degraded and corrupt milieu and Lynch's circular, ambivalent storytelling makes it all the more repelling: for most of the film, the story is a classic parable of corruption of an innocent by an evil, materialistic world, but the ending shows that the "innocent" herself is actually the most corrupt and materialistic character in the film.

On the surface, the film targets Hollywood and mainly vents Lynch's anger at Hollywood's hypocrisy. Deeper down, Hollywood is an allegory for the materialistic world, a hell on Earth in which people are only busy destructing each other and themselves.

The film is littered with quotations from Twin Peaks and Lost Highway, as if Lynch wanted to make it even more personal, a clear reference to his own career.

Finally, the structure of the film lends itself to a Freudian interpretation. The first part of the film is basically a reshuffling of the real events and characters that are reported during the second part, and their transformation into a dream sequence: a psycoanalyst could interpret the first part (the dream) and deduct the second part (the reality).

The first part of the film is simply the dream Betty/Diane has while she is dying. In this dream sequence reality is deconstructed and reconstructed, as the second part will explain. The first part is a flow of free associations that stem from the trauma the suicidal dreamer (Betty/Diane) has suffered: she has been abandoned by her lesbian lover and she has just had someone kill her.

Brainlet here.
It's about living in another persons shadow and also having homolust for her. The last 30 minutes was fucking brutal.
Overall I think it's pretty straightforward when compared to something like Inland Empire, though I'm not sure what man behind the wall was supposed to represent. For me it was a representative of the entire movie, you have a familar diner at denys(just like the first ~2 hours of the movie fell almost like regular hollywood flick) but there's something disgusting behind the wall.

The viewer is also taken through another change of perspective after barely a few minutes, when the apparent protagonist ("Rita") turns out to be a mere accessory for the real protagonist (Betty), and the film therefore changes dramatically from the story of a misfit in trouble to the story of a generous soul helping a misfit in trouble; and then again when the dream ends and suddenly the generous soul turns out to be a murderous woman and, literally and figuratively, the protagonist changes again (Betty becomes Diane).

One can analyze the events of the first part in detail and see that they reflect events explained in the second part. Lynch pulls this out without recurring to cinema's most abused narrative device: the flashback. Instead of the flashback, Lynch uses the visionary restructuring power of dreams.

The main trick is that the two girls are switched: the girl in the limo is Camilla instead of Diane/Betty; Betty helps Rita/Camilla instead of Camilla being the mentor of Diane; Rita has the purse full of money instead of Diane giving a purse full of money to the killer; the director falls in love with Betty/Diane while in reality he fell in love with Camilla; etc.

The car accident symbolizes the betrayal she suffered at the party. The killer kills the "survivor" of that accident, who symbolizes her ex-lover, whom she orders killed by precisely that killer.

The restaurant is a symbolic center of the dream because it is the place where Diane ordered the assassination of her lover. She becomes Betty in the dream because that is the name of the waitrees who was waiting on them.

Camilla, instead of being the star that helps Diane get a job, is a misfit whom Betty/Diane helps discover herself. In Betty's dream, the name Camilla is reserved for a stupid girl who gets the role of lead actress only because the mafia forces the director to choose her. In the dream the director, the one who in real life has stolen Camilla from Diane, is a pathetic coward whose wife betrays him and kicks him out. The only reason he chooses Camilla is because he has no choice. Diane vents her anger and despise in the dream.

The dream seems to imply that Rita was a prostitute: again, Diane is venting her anger for the betrayal.

In the dream, Betty is the talent and she is sexy and Adam falls in love with her. In reality, this is all Camilla.

The key is part of the thriller in the dream but in reality it is simply the message of the killer that he has carried out the contract.

It is not the gangsters who are after Rita, it is the police that are after Betty.

The club "Silencio" (perhaps the most surreal scene in the film) is a metaphor for what is happening to Betty: everything is false, everything is recorded, they are simply moving their lips. Somebody else has decided what the show should be. Even when the singer dies, the music and her voice continue. The audience is not supposed to enjoy the show, but merely to watch it. Life makes no sense. Superior forces control the destiny of everybody. The "Silencio" scene is like a dream within a dream (they go to the theatre in the middle of the night, when, presumably, the theatre would be closed) and it expresses Betty's subconscious at a second levelw (the sense of guilt, the death of the singer, the irrationality of reality).

Note that, like in Lost Highway, the main characters have two names, each name giving them a different role.

Purpose of the tramp?
Significance of box and key?
Old midgets?

There is more to the story possibly but
I have my own interpretation of them but there's definitely things to explore. Personally ljke Lost Highway I prefer not to overanalyze and just let the film wash over me like a dream/nightmare and it find it (even) more enjoyable

As usual in Lynch's films, there are characters that are left unexplained and that somehow represent the supreme and supernatural forces of destiny. Here there is a bum with a horrible face who seems to own the blue box that caused so much mischief and the two little genies (the old couple that is always laughing) that came out of it. He represents the evil forces that make people like Diane hate and kill. The cowboy is also left unresolved: he is the one who forces the director to choose Camilla and he is the one who wakes up Diane, i.e. the one who explains the reality paraphrased in the dream. In a sense, the cowboy is the one who sets everything in motion. The fact that Adam never sees the cowboy again is cryptic: he was supposed to see him once or twice, depending on whether he obeyed or not. The only one who sees the cowboy again is Betty. And, of course, David Lynch himself, who is the director...

I think Naomi saw hobo when she get killer sigh and her conscious remember him as some trigger for brutal revrlation

>though I'm not sure what man behind the wall was supposed to represent.
For me it basically is a reminder that the 1st part of the film is a dream, so dream logic is in place. Apart from that, for me it's always a scene that sets the tone for the rest of the film. Basically you spend all the following scenes with long corridor shots waiting for a scare that never comes. I've watched the film like 7 times (always showing it to more people) and I'm the whole time in tension.

But as part of the plot itself, I'd say it's mostly to add to the dream-logic thing.

>The film is littered with quotations from Twin Peaks and Lost Highway

Are there any literal quotation?