10 Movies That Only Make Sense At The End

There's certainly a fair argument to be made that David Lynch's magnum opus Mulholland Drive isn't a film necessarily made to be clearly understood - it's a surreal, twisted puzzle box of a film obsessed with themes of identity and reality.

But there is one interpretation of the movie's ambiguous events which have endured for the last two decades, and again, it happens to be the simplest answer to Lynch's bewildering riddle.

The popular understanding of Mulholland Drive is that the first 100-or-so minutes are the idealised, surreal dream of a mentally ill failed actress, Diane Selwyn (Naomi Watts).

The final 45 minutes, then, are Diane's nightmarish reality, culminating in her committing suicide after having her former lover Camilla Rhodes (Laura Harring) murdered.

There's obviously much more to it than that, and many of the stark, unsettling images defy direct categorisation, but only during that third-act switchover does Mulholland Drive really cohere into anything with tangible(ish) meaning. And that's not a bad thing, by the way.