When it comes to cinematic representations of nightmares, David Lynch is a filmmaker is up there with the best. Mulholland Drive is a neo-noir, psychological thriller about an aspiring actress who moves to Hollywood to realise her dreams of becoming a star. Like much of Lynchs work, the film is a complex, non-linear tale that is ultimately left to the viewer to interpret. The task of doing so is far from easy or comfortable. Mulholland Drive is a film built on a strong atmosphere, a dream-like environment where Lynch so often loves to go. It was mostly lauded by critics upon release, even by Roger Ebert who had famously not been Lynchs biggest fan beforehand. As Naomi Watts character slowly loses her mind, so does the audience. The characters know about as much as the the viewer does, which really isnt a whole lot. Everything simultaneously starts coming together and falling apart, and its unnerving how effectively Lynch can toy with the mind. He burrows into the subconsciousness and confuses with a film that feels like it makes sense, but only on a unbelievably deep cognitive level. Its something hard to initially put into words, and like nightmares, that really is frightening. Plus it has that terrifying guy behind the wall. Biggest jump scare ever.
Joe is a television junkie. A film fanatic. A pop culture know-it-all. An interactive media masters student, and a bass player.
22 years old and Irish. Thinks Netflix is a Godsend.
