In January 2025, the cinema lost one of its most unique votes when David Lynch died at the age of 78. What followed was a huge outflow of the Loveum to director Maverick. Following it on social media, I noticed messages from friends (at least by my knowledge) have never published anything related to the film before. Lynch films were often categorized with twisted and disturbing visions, but as a person and artist, he really seemed to be talking to people at a deep emotional level. Maybe it was because he was never less than real for himself and was an eccentric and generous spirit in a sphere of celebrity, full of ion. Maybe it was because his dark reversions of the unusual that lurking behind the facade of everyday life cut through the tired old BS of the American dream of so much. Whatever it was, everyone was obviously just worshiping David Lynch, and one of the most sacred respects of the Starwells came from Naomi Watts, who worked with him on a film that was often considered his masterpiece -"Muloland Disk".

Lynch's seductive neo-narrative began as a 90-minute pilot episode for a new ABC TV series, but the network missed it because of disagreements about his slow walking, the confusing story and the concern that Laura Farring and Naomi Watts were too old. However, Lynch did not deal, and Watts deserves the director to put the map after spending most of the 90s of the last century, struggling to make an influence in Hollywood. Its role in Mulcholand Disk has become one of the most unforgettable characters in Lynch's filmmakingAnd she continued to receive two Oscar nominations (for "21 grams" and "the impossible").

To throw away from the ABC, he certainly did not harm Lynch or the final film. After the director filmed additional scenes with extra money from the Studiocal, Mulolandol Disk did well on the international round of the awards, received a nomination for Palme D'Er in Cannes (where Lynch won the best director) and earned an Oscar -directed Lynch. Since then, the Muljoland Disk has established itself as one of the best films of the 21st century, at the top of the BBC poll for 2016 and jokes the big guns in the release of the once-in-decade rankings of "Type and Sound". Things have gone even better in voting in 2022 (where he climbed from #28 to #8), while Mulololand Disk came in second place in Yorkyorc Times survey 2025 Of the 100 best films of the current century. Let's look closely.

It is a nightmare on Muloland Disk, Los Angeles and an elegant woman with raven hair (Laura Hurning) is closely avoided killing herself at the back of the limousine thanks to the collapse of the car. The accident leaves her with amnesia, so she is looking for a refuge in an apartment. Enter Betty Elms (Naomi Watts), an actor with a light-eyed Vanabe from Ontario arriving in Los Angeles with a dream to become a starvet. After borrowing her aunt's apartment, Betty arrives there to find the stunned woman in the shower. Unable to remember who she is, the stranger is named Rita from the Guilding poster and slip in the Fam Fatal mode because she and Betty are trying to find out what happened to her and why. The only clues they need to follow is watting money and a mysterious blue key in Rita's purse.

Betty's first audition goes great well, but the parallel stories suggest that something more evil is in play: We come across a stunning hit, a frightening figure that lurks behind dinner (one of the The biggest jump is afraid of movie history), and Adam Ceser (Justin Atuks), a smuggling director, who is under pressure from some unwanted characters to throw an unknown actor in his film. When he refuses, a shading puppet master behind the scenes (Michael Anderson, who is well known to Lynch fans from Twin Peaks), threatens to ruin his life unless they give their demands. Investigations by Betty and Rita also darken when they discover the corpse of a young woman and the night's visit to a strange theater reveals the box corresponding to Rita's key. When they open it, everything changes and takes a very more tragic twist for Betty.

This is where the narrative of "Mulholland Drive" fractures as Betty becomes Diane. The fighting actor, Diane, is alobomorable on her Luborica Camilla (reinforced), who apparently used his relationship to continue his acting career. It is a Lynch film so much is left open to interpretation, but perhaps the most attractive download of the last 30 minutes of the film is that the previous two hours was Diane's Diane version of Hollywood. I think some of Lynch's slanderers tend to write off his more surreal touch as unusual because of unusuality, but here's a sleep (or nightmare) trip is crucial to the overall themes of Mulcholand Disk and the devastating impact of her latest scenes.

At one point in "Mulholland Drive", we take a look at the street sign for the sunset boulevard. The two roads run approximately parallel to each other through Los Angeles, the former winding through the Hollywood hills as the sunset passes through the heart of Tinstaown himself. David Lynch named the "Sunset Boulevard" as one of his favorite films, and these relationships are crucial to get your head around what is happening here. In many ways, the Muloland Disk is a tribute to Lynch of the classic noir of Billy Wilder.

Like the previous film, Lynch depicts Hollywood as a seductive place that can reward those who make it big over their craziest dreams. But it is also capricious and cruel, a sink capable of swallowing the hopes of those who are not so happy and always hungry for the next big deal. Many need to compromise their ideals in order to use it, like William Holden in "Sunset" and Camilla in Mulolandol. EO ends playing Igigolo on a washed movie starvet, and it is understood that Camilla is sleeping on top.

Adam's dream version of Mulolland is also forced to compromise, but Lynch is more concerned with Hollywood toll can take over women. Even those who reach the Ardwar, as the norm of Desmond in the "sunset", are often thrown away for the lighter people as soon as their youth disappear. Accordingly, women in Lynch's film are constantly changing identities, reflecting on each other and changing their appearance to serve whatever Hollywood wants to be at every given moment. Once the box has opened and we see the "real" story, Lynch jokes us with a disturbing discovery of the immediate nature of the film industry, every little as acidic as the end of the "Sunset Boulevard".

"Mulholland Drive" has a broken mirror to the older stories of Hollywood Babylon, while also playing as the biggest hits of Lynch's best moments. The film invites comparisons to the likes of "Blue Velvet", "Twin Peaks" and "Lost Highway", hitting the sweet spot directly between them; Referring to the famous blows from the first two while offering a narrative that (for the most part) is easier to follow than the latter. This may be why the film is considered a masterpiece of Lynch, married to his signature wirelessness with a story that hits him at home so powerful at an emotional level.