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According to one of the most common - and surprisingly coherent - interpretations of Lynch’s film, the first part of Mulholland Drive is best understood as a dream sequence, in which...
- 1 min
Jun 15, 2014 · After an unusual The Straight Story, the master of mind-blowing surrealism, David Lynch, came out with the highly acclaimed Mulholland Drive, a neo-noir mystery thriller which draws on dream interpretation.
Jun 19, 2014 · The final twenty minutes of Mulholland Drive reveal that the first two hours contained a fantasy narrative created in Diane’s dream. The second segment, then, destroys the illusion that viewers may have had that the world depicted for the first two hours was a “real” representation of a preferable version of contemporary American life ...
- Clint Stivers
Mulholland Drive is so distinctly his style, and yet I found myself frustrated that once again there's a dream sequence with a dwarf, and the hallucination sequences were cheesy enough to make me laugh.
Jun 10, 2009 · Having unravelled the basic structure of the last quarter of the film, in which the blue key doubled up as a conceptual key to the narrative puzzle, let’s now turn our attention to the giant dream sequence that comprises the first three quarters of the film.
Jul 15, 2010 · Mulholland Drive is structured much like a dream, except that there is no clear identification of a dreamer. It is like a dream experienced rather than a dream remembered. There is no waking up, no available remembered day residue. A film and a dream have something important in common. They each must maintain our involvement.
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Jul 26, 2020 · Perhaps the most common reading of Mulholland Drive is that the first half of the movie is a dream. It’s all over the place, it doesn’t make sense, and like the glitz of the town it explores, it’s not restricted by the need to be realistic.
