“Mulholland Drive” on Netflix: David Lynch is selling us crazy

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In one snapshot of vanishing in this labyrinth, which was woven according to the logic of the dream, lies a rotting corpse. She sank into “Bourbon” her misery, with an accent that did not match her fragile, romantic appearance. The movie describes that descending into a vortex, into that earthly appearance of Hell, which we call Hollywood, disguised as a religious pseudo-religious. “Mulholland Drive” (2001), which will be released this week on Netflix, is a two-and-a-half hour nightmare. A movie that carries a lot of symbolism and metaphor. David Lynch mastered the art of interacting with scenes he always considered the main participant in the game. This American director creates his own world, and imprisons the viewer within it. And on Mulholland Drive, he creates terror and traps us in it without justification in eternal hours. Nightmares are self-explanatory, and so is Mulholland Drive.Paolo Churchi Usai said in his book The Death of Cinema (2001) that “Cinema is the art of destroying the moving image.” In a way, every movie is a frustrating endeavor to sublime, a dream mirage carved out of perishable material. “Mulholland Drive” is basically the story of a rotten dream. It is the abstract horror that lurks in a nightmare-like creature hiding in an alley. It is the secret that is kept in a multi-meaning cube. It’s a chilling melodrama about love and broken-down friendships. Here, we find ourselves once again in a unique David Lynch movie. The “pure summary” brings together the best and worst of Lynch. A maze of excitement, dreams and unresolved mysteries. Women at risk, daytime nightmares, black humor, gloomy atmospheres, and extremist personalities. The best that can be said about “Mulholland Drive” is that it is ironic.

Melodramas that chill on love and broken-down friendships

An extremist director in an extremist movie, obsession, sexuality and violence reign here. A nightmare designed to be a mysterious thriller, an annoyingly suppressive puzzle, absurdly funny, and consistently great. Lynch is selling us crazy here. Simply drifting us towards an image orgy. We cannot be a biblical summary of the film’s story, it is infinite feelings, a game of invisible mirrors, lifeless, and yet the viewer is captivated, because Lynch is an artist enough to know that it does not matter what is important, but how he narrates it. Lynch was and still does what he wants and however he wants, regardless of criticism, awards, money, success, and even understanding. Commendable for being unfamiliar in American cinema … he is the freest artist.

* Mulholland Drive on Netflix starting October 1st


Scenes «Eye of the Duck»

“The duck is one of the most beautiful animals. And if you want to study ducks, then you will notice the following: The beak has a specific texture and a specific length. The head also has a clear shape. The beak is soft to the touch with fine detailing, somewhat reminiscent of the legs (the leg is softer). The body is large in size, smooth, and the structure is not fragmented. The main point around the duck is the eye and its anchorage. As if it takes the form of a gemstone, it is placed in the perfect position to show the jewel – specifically in the center of the head, close to the beak curve that straightens in front. But with this sufficient distance the eye is within its outer and isolated range. And when you’re working on a movie, you can realize the beak, the legs, the body, and everything, but this duck-eye, the perfect and sure sight, is the jewel, and if it’s here, it’s going to be very cool. It’s amazing indeed. ” (David Lynch / photo)
Two men sit down to eat, speaking politely. One talks about his dream, which is a nightmare in reality. And the other is listening. The first tells his nightmare about the evil man who appears standing in front of him behind the restaurant he is sitting in now. To prevent the nightmare from continuing, they go to verify the validity of the matter. At this moment, we cannot know what will happen next. There may be nothing and all of this is just illusions, but we know this guy is out there or here. When he raises his head from behind the walls, a moment of terror begins in our souls, which live in constant tension and loss throughout the film. This is the tipping point that Lynch is building in the first scene of the movie until its end. It causes us to feel terrified and wonder: Is all we see a dream or reality? Is what we are watching a movie? How can we get to the answer? Are we sure of everything that is happening in front of us? But do you remember the “duck eye” we talked about in the introduction? This scene from “Mulholland Road” is “The Eye of the Duck” … this eye that appeared at the right time and place.

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