Mulholland Drive

I hope that I never see that face, ever, outside of a dream. Seeing it on the big screen was a blessing. I found myself catching narrative details I’d never noticed before. One subtle but striking aspect occurs in the “dream” sequence: when characters approach Betty, their actions often seem unmotivated at first — as if the reason for their appearance only materializes mid-sentence. It’s as though we’re witnessing Diane’s subconscious in real-time, inventing characters and their intentions on the fly.  My favorite parts of the film remain some of its most haunting. The Club Silencio scene is still utterly spellbinding. And that cut near the end— Diane, Camilla, Diane, then Camilla again, right? It should be Camilla. But it’s not. It cuts back from Diane — to Diane.