After a bizarre encounter at a party, a jazz saxophonist is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a young mechanic and begins leading a new life.
The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
Director:
David Lynch
Stars:
Isabella Rossellini,
Kyle MacLachlan,
Dennis Hopper
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A young FBI agent disappears while investigating a murder miles from Twin Peaks that may be related to the future murder of Laura Palmer; the last week of the life of Laura Palmer is chronicled.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
A Duke's son leads desert warriors against the galactic emperor and his father's evil nemesis when they assassinate his father and free their desert world from the emperor's rule.
Director:
David Lynch
Stars:
Kyle MacLachlan,
Virginia Madsen,
Francesca Annis
A grieving couple retreat to their cabin in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse.
Director:
Lars von Trier
Stars:
Willem Dafoe,
Charlotte Gainsbourg,
Storm Acheche Sahlstrøm
Fred Madison, a saxophonist, is accused under mysterious circumstances of murdering his wife Renee. On death row, he inexplicably morphs into a young man named Pete Dayton, leading a completely different life. When Pete is released, his and Fred's paths begin to cross in a surreal, suspenseful web of intrigue, orchestrated by a shady gangster boss named Dick Laurent. Written by
<jdean@gslink.net>
In a recent interview, director David Lynch confessed that Lost Highway and Twin Peaks take place in the same world. See more »
Quotes
Arnie:
Pete! Where've you been? It's really good you're back! A lot of people are gonna be happy that you're back, including me!
Pete Dayton:
Well, it's good to be back, Arnie.
Arnie:
Mr. Smith is waiting for you.
Pete Dayton:
Sure, I'll take care of him.
Arnie:
And Mr. Eddy called every day asking about you. Can I call him and tell him to come in?
Pete Dayton:
Sure, call him. Tell him to come in and I'm ready to work.
Arnie:
You're ready to work?
Pete Dayton:
I'm ready to work.
Arnie:
[to the other garage employees]
Pete is back!
See more »
I Put a Spell on You
Written by Screamin' Jay Hawkins (as Jay Hawkins)
Used by permission of EMI Unart Catalog, Inc. (BMI)
Performed by Marilyn Manson
Mixed by Sean Beavan
Courtesy of Nothing/Interscope Records See more »
Lighting. That's the thing I remembered most from the first time I saw this film. Amazing lighting. Certain directors, Lynch included, are able to tell the story using camera movement, what's seen/not seen. Lynch, however, has taken that a step further with the way he chooses to light his scenes - he sculpts his shots in a manner that seems almost more like a theatrical lighting designer's work. The use of shadows within the home, the stark colors that accompany certain scenes, even the car lighting in the titles - all of this is used to draw the audience's attention to a certain point, and all of it thrills. With the terse, "European art-film" dialogue style (at first the most distancing thing I found in Lynch's work, it is now one of my favorite elements), sharp sound work, a strong cast, and the marvelous, spiralling structure of the film only reinforcing it's strongest feature - its atmosphere - this is a work that will be discussed long after the credits fade. In my short 22 years, the best film I've seen, bar none.
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Lighting. That's the thing I remembered most from the first time I saw this film. Amazing lighting. Certain directors, Lynch included, are able to tell the story using camera movement, what's seen/not seen. Lynch, however, has taken that a step further with the way he chooses to light his scenes - he sculpts his shots in a manner that seems almost more like a theatrical lighting designer's work. The use of shadows within the home, the stark colors that accompany certain scenes, even the car lighting in the titles - all of this is used to draw the audience's attention to a certain point, and all of it thrills. With the terse, "European art-film" dialogue style (at first the most distancing thing I found in Lynch's work, it is now one of my favorite elements), sharp sound work, a strong cast, and the marvelous, spiralling structure of the film only reinforcing it's strongest feature - its atmosphere - this is a work that will be discussed long after the credits fade. In my short 22 years, the best film I've seen, bar none.