Belgrade International Film Festival
"Mulholland Drive"
(David Lynch, director)
Review by Radmila Djurica

David Lynch, the creator of the cult serial “Twin Peaks,” is known for tracing the psychology of his characters to the hidden crime of the melancholy American middle class, all against idyllic backgrounds. Ever since Laura Palmer [Twin Peaks], Lynch has focused on the characteristics of one kind of woman in his films. He is like a modern Hitchcock, returning to a similar female character, just as Hitchcock did. Lynch’s women always have a mysterious and dark secret, underscored by the sadness created by the wide-open scenography of wide landscapes. In Mulholland Drive, as in Twin Peaks, Wild at Heart, Blue Velvet and Lost Highway, women are hallucinating, sad and bizarre.

Mulholland Drive follows strange characters, with disappearing elements, as in other Lynch films. Slow motion gives the film an accent so typical for Lynch. Typical and effective, but also predictible. Mulholland Drive lasts too long. The border between nightmares, dreams and reality is shifted any which way, and it's hard to keep track.

Rita is the femme fatale, a woman who has survived a car accident, losing her memory, a story that has been used before. She runs into a young, naive actress who offers to help her find out about herself. These two completely different women are attracted to each other, signifying the attraction of light and darkness. A young blonde actress symbolizes light and innocence, and the dark mysterious femme fatale Rita, a brunette, symbolizes confused, dark sexuality that turns out to be bisexuality. The two women become lovers, and even after they become lovers, the mystery remains unsolved, blurry to the very end. It is too predictable for Lynch to use an object not related to the story, a strange-looking box with the key, as a fetish to represent evil.



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