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Excuse me, but I too felt the need to share my thoughts on this masterpiece.
In 2001, David Lynch managed to achieve the impossible: to create the summa of all his cinema. What emerges is Cinema with a capital C, a masterpiece complete in itself and at the same time a declaration of love for the cinema.
In Mulholland Drive, Lynch assimilates the essence of various genres to present them in a highly personal form, consistent with his own aesthetics and expressive urgency. The plot is simple, or perhaps it's incredibly complex, or maybe it doesn't even exist: one of this film's strengths is its openness to multiple interpretations, without one necessarily excluding the other, without there needing to be a "true" interpretation that excludes all others. The plot, if we can call it that, is broken down into various sequences, often dreamlike, always fascinating, creating a kaleidoscope of sensations that reflect the depths of the human psyche and the multifaceted genius of Lynch. Just a brief look at the initial sequences can make even a novice realize how Lynch reworks cinematic genres and psychoanalytic themes.
Inception. A brunette woman (Laura Harring) in a car. The driver threatens her. Another car driven by young people arrives. Accident.
Mystery. A man goes to a bar with a friend. He is apparently dreaming because a monster hides behind the corner.
Suspense. A blonde woman (Naomi Watts) goes to her aunt's house and finds the naked brunette taking a shower and suffering from amnesia.
Dream. A director (Justin Trudeau) argues with Italo Calvino who vomits coffee in the office.
Action. The director wants to hit people with a golf club but gets beaten by Chris Jericho with a mullet.
Music. A cameo by Michael Gira of Swans. Some guys sing in the same place as Twin Peaks.
Horror. The blonde and brunette find a dead body. The corpse has the same blonde bob haircut as Naomi Watts. Could it mean something?
Erotic. The brunette becomes blonde. Then returns to being brunette but bares her breasts. Lesbian scene between the blonde and the brunette which is the only scene everyone remembers from the film.
Of course, I can't reveal the ending, but in the end, you will see, with wonder, that everything falls into place, while maintaining an enigmatic quality in the overall structure of the film.
A cerebral experience even before a visual one, ineffable, incommunicable, intimate: this is Mulholland Drive, this is David Lynch.
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