8. Lost Highway - Robert Blake
It's impossible to truly categorize most of David Lynch's work unless you're simply putting them under the vague blanket of "art" films. Perhaps his only identifiable film is The Straight Story, which features the scariest thing in any of his work: the phrase: "Walt Disney Pictures Presents A David Lynch Film".
But his work is always interesting, often open to interpretation and nothing if not intentionally vague. Books have been written, analyses have been conducted, but ultimately, the work is up to the viewer.
Part of the reason for this lack of clarity is that Lynch admittedly doesn't always know quite what inspires his narratives. Take, for instance, Lost Highway, the first in a loose trilogy of L.A. films (followed by Mulholland Dr. and Inland Empire) that features a mysterious murder seemingly carried out by saxophonist Bill Pullman, body-switching, Robert Loggia pistol-whipping a driver for following his car too closely and Richard Pryor.
The first of many strange occurences in the film takes place when Pullman is approached at a party by a pale-skinned man who tells him that he is, in fact, at his house and hands him a cell phone. Sure enough, the pale-faced man standing in front of him is on the receiving end of the call as well. He has something to do with the murder of Pullman's wife, but it's unclear what.
That the pale man is played by future accused murderer Robert Blake only makes it more discomforting.