with an opening segment that imitates the music and cinematography of todd haynes safe (1995) and david lynch uses dream and myth and warped notions of reality to tell the fractured story of a failed bit part hollywood actress or waitress and diane selwyn and let down by fame and her own demons and obsessed with camilla rhodes and who is engaged to hotshot director adam kesher. the film effectively takes place in diane drug fueled head while we are witness to her crazy distortions and her wish fulfillments and regrets and obsessions and fears. using the dream narrative as a way of presenting two notions of reality in conflict and lynch does not simplify the opposition between reality and fantasy but actively entangles them. the last 45 minutes are as dream like as what came before while and the troublesome air of detached and otherworldly ambiguity still pervades and fracturing the seemingly secure distinction between reality and dream we expect to see in films about nightmares and dreams. lynch film borrows from many films and old and new and but ultimately is a film unlike any other with the exception of the director own lost highway and blue velvet. it constantly challenges the viewer to interpret what is seen and not only intuitively but intellectually. yet it is not as pretentious as one would have imagined because lynch makes us sympathize with the protagonist despite her murderous deeds  an element that was missing in all of his other films except the straight story. he does this by presenting diane dream alter ego and betty and as a wholesome canadian farm girl destined for fame. lynch also presents us with an intriguing story that affirms and negates in equal measure. are camilla and diane really lovers or just friends. who is the blue lady. what does she signify. who is the bum behind winkies. what is the significance of the rotting corpse at sierra bonita. does aunt ruth really exist. is silencio an abstraction of hell or perhaps a self referential take on the film status as fiction. lynch isn not prepared to answer any question he poses and choosing instead to present his love story in the city of dreams as a set of interconnected abstractions and motifs. the acting is top rate and especially naomi watts as diane selwyn or betty and who is yet to eclipse this performance. laura harring has the requisite hayworthesque allure as camilla or rita and while adam theroux as adam brings an freewheeling arrogance and sublimated paranoid aggression to his role. it was staggering and a grave injustice that not one of them was even nominated for an academy award. this is a film that demands to be seen and analyzed closely. the mystery at the heart of the film remains in lynch hands but half the fun is finding consistent ideas from the maze of seeming incongruities that he presents. upon closer inspection there is a definite sense of a puzzle and perhaps an incomplete jigsaw that teases us with closure but denies the imaginary plenitude of narrative coherence. ultimately and this is lynch key film. 
with an opening segment that imitates the music and cinematography of todd haynes safe (1995) and david lynch uses dream and myth and warped notions of reality to tell the fractured story of a failed bit part hollywood actress or waitress and diane selwyn and let down by fame and her own demons and obsessed with camilla rhodes and who is engaged to hotshot director adam kesher. the film effectively takes place in diane drug fueled head while we are witness to her crazy distortions and her wish fulfillments and regrets and obsessions and fears. using the dream narrative as a way of presenting two notions of reality in conflict and lynch does not simplify the opposition between reality and fantasy but actively entangles them. the last 45 minutes are as dream like as what came before while and the troublesome air of detached and otherworldly ambiguity still pervades and fracturing the seemingly secure distinction between reality and dream we expect to see in films about nightmares and dreams. lynch film borrows from many films and old and new and but ultimately is a film unlike any other with the exception of the director own lost highway and blue velvet. it constantly challenges the viewer to interpret what is seen and not only intuitively but intellectually. yet it is not as pretentious as one would have imagined because lynch makes us sympathize with the protagonist despite her murderous deeds  an element that was missing in all of his other films except the straight story. he does this by presenting diane dream alter ego and betty and as a wholesome canadian farm girl destined for fame. lynch also presents us with an intriguing story that affirms and negates in equal measure. are camilla and diane really lovers or just friends. who is the blue lady. what does she signify. who is the bum behind winkies. what is the significance of the rotting corpse at sierra bonita. does aunt ruth really exist. is silencio an abstraction of hell or perhaps a self referential take on the film status as fiction. lynch isn not prepared to answer any question he poses and choosing instead to present his love story in the city of dreams as a set of interconnected abstractions and motifs. the acting is top rate and especially naomi watts as diane selwyn or betty and who is yet to eclipse this performance. laura harring has the requisite hayworthesque allure as camilla or rita and while adam theroux as adam brings an freewheeling arrogance and sublimated paranoid aggression to his role. it was staggering and a grave injustice that not one of them was even nominated for an academy award. this is a film that demands to be seen and analyzed closely. the mystery at the heart of the film remains in lynch hands but half the fun is finding consistent ideas from the maze of seeming incongruities that he presents. upon closer inspection there is a definite sense of a puzzle and perhaps an incomplete jigsaw that teases us with closure but denies the imaginary plenitude of narrative coherence. ultimately and this is lynch key film. ---------------------------------Answer Question Below----------------------------------

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