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  1. Jul 5, 2018 · The magician is forcing her to face the truth; to deconstruct her fantasy, to open the box and let the harsh truth come out. Mulholland Drive is one of those cinematic marvels which come once in a decades. It is the stuff which dreams and delusions are made of. It is the brainchild of an artistic mastermind like none other.

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  2. Apr 7, 2021 · Mulholland Drive becomes more real, not less, during its ending. The central conceit of Mulholland Drive is to paint the ultimate picture of Los Angeles as a city of dreams and dreamers. The ...

  3. Jul 28, 2023 · Mulholland Drive accident - Bar talk - Betty arrives. Even before the opening credits, we see a group of people dancing – it must be the sixties, the madness of rock and roll and swing. The shadows of these people seem to have lives of their own; although they seem to faithfully reflect the dancers’ movements, they seem to have a slightly irritating delay, which introduces an element of ...

  4. Apr 1, 2023 · At its core, Mulholland Drive is a film about the American Dream, one of Lynch’s favourite topics to explore within his work. Mulholland Drive is divided into two realms: reality and Diane’s dream world. The dream world comes first, although clues that we’re witnessing an idealised fantasy are dropped throughout, with these motifs, such ...

  5. Mulholland Drive (stylized as Mulholland Dr.) is a 2001 surrealist neo-noir mystery film written and directed by David Lynch, and starring Justin Theroux, Naomi Watts, Laura Harring, Ann Miller, and Robert Forster. It tells the story of an aspiring actress named Betty Elms (Watts), newly arrived in Los Angeles, who meets and befriends an ...

  6. Jan 29, 2022 · Betty (Naomi Watts) and Rita (Laura Elena Harring) play detectives in the mystery of the latter’s identity, eventually beginning a romantic relationship with each other. Until the narrative as ...

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  8. Jan 27, 2019 · Mulholland Drive is no exception: within a filmography in which it’s almost impossible to choose movies significantly better than others – except for the unfortunate Dune – the above-mentioned movie represents the pinnacle of Lynchian poetics. The point of no return, a limit beyond which the author’s aestethics can’t go any further.

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