david lynch ninth full length feature film and mulholland drive is a deeply touching story about betrayal and jealousy. if anything and it brutally contrasts our ambitions and hopes to the often bitter truth. every frame of this movie has importance and links to other parts and to themselves at the same time. nothing is what it first appears to be and youre left with a real puzzle as you end up trying to put the pieces together. it is a movie that does not compromise and nor does it fail to fully handle the challenging form and camera language and as might have been the case earlier with lost highway. although one clearly recognizes classic lynchian motifs and devices and the movie remains highly original and even in the light of it being a lynch movie. lost highway marked a new way of telling a story while bred an unconventional mean of setting emotions on to the screen. with mulholland drive and lynch not only managed to control this technique and but takes it to new levels in making it much more complex and multi dimensional. in doing this and he creates a framework of different layers in time and of the human mind. in a press conference on the cannes film festival 2001 and david lynch said that striving for perfection at best could give a result where the whole is greater than the sum of the parts. talking about synergies like this becomes highly relevant to mulholland dr. where the different sequences and many details contribute to the total while dreamscapes and parallels intertwine to create the story. in some art and the beauty of it lies in its simpleness. this is not the case with mulholland drive and and has never been with lynch. it is the complexity that colors and builds the worlds lynch creates and the same complexity that characterizes the real world. it never gets forced like and in my opinion and for example memento does and using an original way of communicating with the viewers. further comparing mulholland drive to other movies and i think it proves david lynch as a master of what he does and bridges art and film making in a way that no one has ever done. compared to for example alejandro jodorowsky or contemporary matthew barney and i do believe that lynch more clearly manages not letting the artist dominate the film maker or and more likely and david lynch better understands and executes film making as an art form. understanding the plot is no small feat and but lynch way of working with sound and perspective and chronology and form paints a work of art so dark and frightening that it sometimes feels more realistic than real life. the lynchian cinema is often and and most definitely in mulholland drive and a surge of human emotions. working with emotions is a delicate craft that demands understanding and depth. as lynch puts it represent a little bit too much and and the emotion goes away. a little bit too little and and it doesn not happen. in mulholland drive and david lynch has no problem making this balance. lynch portraits span all kinds of dimensions and take different directions and creating incredibly realistic characters and situations. watching mulholland drive is a journey through the subconscious. it is a truthful and naked movie with indisputable artistic value. that is why i love mulholland drive and what taken it to the pinnacle of cinema history. the ultimate movie. 
david lynch ninth full length feature film and mulholland drive is a deeply touching story about betrayal and jealousy. if anything and it brutally contrasts our ambitions and hopes to the often bitter truth. every frame of this movie has importance and links to other parts and to themselves at the same time. nothing is what it first appears to be and youre left with a real puzzle as you end up trying to put the pieces together. it is a movie that does not compromise and nor does it fail to fully handle the challenging form and camera language and as might have been the case earlier with lost highway. although one clearly recognizes classic lynchian motifs and devices and the movie remains highly original and even in the light of it being a lynch movie. lost highway marked a new way of telling a story while bred an unconventional mean of setting emotions on to the screen. with mulholland drive and lynch not only managed to control this technique and but takes it to new levels in making it much more complex and multi dimensional. in doing this and he creates a framework of different layers in time and of the human mind. in a press conference on the cannes film festival 2001 and david lynch said that striving for perfection at best could give a result where the whole is greater than the sum of the parts. talking about synergies like this becomes highly relevant to mulholland dr. where the different sequences and many details contribute to the total while dreamscapes and parallels intertwine to create the story. in some art and the beauty of it lies in its simpleness. this is not the case with mulholland drive and and has never been with lynch. it is the complexity that colors and builds the worlds lynch creates and the same complexity that characterizes the real world. it never gets forced like and in my opinion and for example memento does and using an original way of communicating with the viewers. further comparing mulholland drive to other movies and i think it proves david lynch as a master of what he does and bridges art and film making in a way that no one has ever done. compared to for example alejandro jodorowsky or contemporary matthew barney and i do believe that lynch more clearly manages not letting the artist dominate the film maker or and more likely and david lynch better understands and executes film making as an art form. understanding the plot is no small feat and but lynch way of working with sound and perspective and chronology and form paints a work of art so dark and frightening that it sometimes feels more realistic than real life. the lynchian cinema is often and and most definitely in mulholland drive and a surge of human emotions. working with emotions is a delicate craft that demands understanding and depth. as lynch puts it represent a little bit too much and and the emotion goes away. a little bit too little and and it doesn not happen. in mulholland drive and david lynch has no problem making this balance. lynch portraits span all kinds of dimensions and take different directions and creating incredibly realistic characters and situations. watching mulholland drive is a journey through the subconscious. it is a truthful and naked movie with indisputable artistic value. that is why i love mulholland drive and what taken it to the pinnacle of cinema history. the ultimate movie. ---------------------------------Answer Question Below----------------------------------

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