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133 of 139 people found the following review helpful
4.0 out of 5 stars Silencio!
Bit of a public service announcement here. Great movie, obviously, and if you don't already have it, this is certainly the edition to buy. BUT, if you have the previous DVD and you're thinking of upgrading to the new edition, I really wouldn't bother. The main selling point to me was chapter selections, which were notoriously absent previously, but notice that the new...
Published on 18 Mar 2007 by Oswald Cobblepot

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1 of 1 people found the following review helpful
3.0 out of 5 stars A surreal nightmare
I really enjoyed the first two hours of this film. The cast is fantastic. Naomi Watts is terrific as all-American cutie Betty and Laura Elena Harring, who plays mysterious Rita, must surely be one of the most beautiful women on the planet. Justin Theroux is Adam, a temperamental film director who has lost control of his own project. Billy Ray Cyrus makes an appearance as...
Published 11 months ago by Camilla Macaulay


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133 of 139 people found the following review helpful
4.0 out of 5 stars Silencio!, 18 Mar 2007
By 
This review is from: Mulholland Drive - Special Edition [DVD] (DVD)
Bit of a public service announcement here. Great movie, obviously, and if you don't already have it, this is certainly the edition to buy. BUT, if you have the previous DVD and you're thinking of upgrading to the new edition, I really wouldn't bother. The main selling point to me was chapter selections, which were notoriously absent previously, but notice that the new chapter divisions are "David Lynch approved"... There are now six chapters, four of which are in the last half hour (of a two and a half hour movie). They're only accessible from the menu (so you still can't skip ahead when the film is running, as you couldn't before), and the menu itself gives you absolutely no clue as to what the chapters actually are. So the main disc is really no more user-friendly than before. I think that's quite funny, but I wish I hadn't paid 14 quid to find out. As for the second disc of extras, the "making of" is not a documentary but just a lot of raw footage from the shoot and not very interesting, and the Cannes press conference isn't very illuminating either - not that I was expecting answers or explanations, but Lynch just looks bored and uncomfortable, and the rest of the cast just gush about how wonderful he is. Plus, the questions from the audience have been edited out, so the panel are replying to questions you haven't heard. The rest of the extras were already on the original release.

You DO get a booklet of the Mulholland Drive chapter from Lynch on Lynch, but that book is so good I'm guessing most Lynch fans - like me - have it already. For those who don't, but who do have Mulholland Drive from the previous release, spend your tenner on that book instead.
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42 of 44 people found the following review helpful
5.0 out of 5 stars 'No hay banda. It's all an illusion!', 5 Nov 2006
By 
Mr. A. E. Hall "brother_of_sadako" (Liverpool, UK) - See all my reviews
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My first introduction to Mulholland Drive came when my family went to see it. Upon their return I asked them what the film was about. Their response? 'You can't describe it'. So I went with a friend to the cinema to see for myself. The film was trully stunning and one of the greatest cinematic experiences of my life. But I could not understand what the Hell had just happened! We spent the next two hours walking through town, eventually sitting down by a basketball court with a couple of cokes trying to work out just what is supposed to have happened.

The film is incredible on so many levels; its unusual structure to the plot allows for many, otherswise impossible occurances like the creepy meeting in the coral with the 'Cowboy', the strange, crippled mobster and the eccentric, espresso loving gangsters, the 'monster' behind Winkies and many others. The best scenes in the film are the terrifying discovery in Diane Selwyn's house, the audtion for the singers (with the dream Camilla singing a cheesey 50s style lover song that makes me shiver now), the scene in the bedroom (hey, I'm only a man) and the shudderingly powerful part in Club Silencio.

The directing is unique and very innovative, the acting is outstanding, especially Naomi Watts (not since Al Pacino had an actor changed so subtely, so much in one film) and the plot (both before you understand it but even more so after) is amazing. Without doubt, the best film so far this millenium, I believe, that like Citizen Kane, Shawshank Redemption and others overlooked at the time, it will be remembered as a trully great film. Watch it, then watch it again, and again until you get it, trust me , it's worth it!
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27 of 29 people found the following review helpful
5.0 out of 5 stars Intriguing and beautiful, 7 Mar 2006
By A Customer
If you like films that require little in the way of concentration, than this definitely isn't the film for you. David Lynch's "Mulholland Drive" is in my opinion the best film he has ever produced, "Lost Highway" (although marvellous) is let down in places by poor acting and looking rather on the cheap side, but Lynch appears to have rectified this by selecting two tremendous actresses in the lead roles for this particular film.
Mulholland drive is confusing from the start, offering fragments of stories for the characters with sinister undertones. Three quarters of the way through the story takes a dizzying shift, leaving the viewer totally confused and desperately trying to recall the former part of the film in an attempt to make sense of the final scenes. It is almost impossible to pass judgement or appreciate the film in its totality on a single viewing - one of the reasons why it is such a great film to buy is that you'll always be able to return to it and notice something different.
I've heard many people's views on what they believe the film may or may not represent, and that is the beauty of this masterpiece by Lynch, nothing is totally explained and it is up to you the viewer to form your own interpretation of the events. It isn't going to be everyone's cup of tea (you either love it or hate it) but it definitely gets you thinking,and with such amazing cinematography and a truly haunting soundtrack, if you do take to this film it is one you will return to time and time again. Stunning!
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15 of 16 people found the following review helpful
5.0 out of 5 stars Where does Lynch go now?, 26 Aug 2002
By 
P. Millar "dazzle" (UK) - See all my reviews
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This is the film which David Lynch has been heading towards since the TV series 'Twin Peaks'. 'Fire Walk With Me' and 'Lost Highway' now seem to be the musings and note taking for this film, and, it could be said, are all worth watching again in this order - 'Fire Walk With Me', 'Lost Highway' and then 'Mulholland Drive'.
Similarities exist between all three. There are echoes of 'Twin Peaks' / 'Fire Walk With Me' in the red curtained room of the man in the wheelchair in 'Mulholland Drive' and the characters becoming different people that was seen in 'Lost Highway'.
If you are a David Lynch fan then you've probably already seen this movie and be hailing it as the best thing he's ever done. I would agree. This is a true modern masterpiece. With a soundtrack which ranks alongside 'Pi', 'Requiem For A Dream' and 'Fight Club' as the best in modern, original soundtracks. Essential listening.
David Lynch, along with Darren Aronofsky, proves he is the master at modern film making. Whether you 'get' the movie or not is beside the point- with enthralling characters, exquisite direction, it doesn't matter. Just allow it to swallow you into its dream world of chaos and darkness and hope you reappear again. Definetly a film you can watch again and again and again.
If this is where Lynch has been heading, where does he go now?
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33 of 36 people found the following review helpful
5.0 out of 5 stars A Full and Proper Explanation, 1 Jan 2009
By 
David E. Chapkin (London, England) - See all my reviews
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Although the film is structured by way of dream/fantasy as opposed to being plot or character driven, it is entirely coherent although non-linear of course. As I recall, this is a film about Diane Selwyn who was possessed by two obsessions centred around a fixation. The first obsession was her dream of Hollywood and "making it". Her second obsession was with her lesbian lover, the dark haired woman suffering amnesia (her name is Camilla Rhodes) and the jealousy she felt when she fell out of the woman's affections. As is related at the end, Camilla Rhodes was the central point of fixation about which Diane Selwyn's life revolved when she came to LA, looking as so many have for love and a star-studded film career. But she was disappointingly let down. Her dreams of Hollywood, riding on the introductions of Camilla had come to naught; her affair with the woman, long over.

Actually, the seminal sequence at the end where she (Diane) is riding in the limo along Mulholland Drive is one of the few sequences that could be called "real life" in the film because of course this is Diane Selwyn's experience, not her fantasy, Betty, the dream personae whose name she took from the waitress in Winky's restaurant. We see her going into the director's house where all is revealed i.e. her shattered dreams of becoming a successful Hollywood actress and the betrayal she feels culminating in the announcement that her lesbian ex-lover is to marry the film director.

What Lynch did in the film was unique because Betty, the central character, is just a construct of Diane Selwyn's. She is not real. Rather it is Diane Selwyn who is real who in the opening credits is revealed as the star-struck girl from some no-name town in Canada who happened to have won an insignificant, local jitterbug contest. With her head full of unrealistic dreams, she'd travelled to LA, the city of dreams. But those dreams eventually collapsed. In response, she adopted a fantasy life of sorts - I see it as a projection - in which she created the personae, perhaps split off from herself, of the fresh, talented, rather naive, but business-like Betty.

Characteristically, it is Betty at first instance, Diane's projected personae, who meets Camilla Rhodes in the film. And naturally, this is the woman who spurned Diane in real life and for whom Diane would like to turn back the clock. What was required was that Camilla, her ex-lover, would have no memory of Diane and how their tryst went awry, hence the accident and the subsequent amnesia. Better still, Diane seeks to extinguish from memory her entire past. In this way, and it is of course Diane Selwyn's fantasy, she is provided a second go-round, a way out so to speak from the disappointment of her reality. Here within the wish-fulfilling fantasy she can reinvent herself. Here she can show how splendid an actress she is. She is discovered. Her gifts as a person can be recognised. And she can seduce and recapture her life with her lover again but without Camilla (or Diane) having any memory of the defeating past.

Most interestingly, this is what the film is - a psychological response to shattering loss. And whereas there is portrayed Diane Selwyn's wish fulfilment fantasy (which collapses when reality intrudes and more memory is recovered) there is also the nastier, more fearful undercurrent fuelled by Diane's guilt because of course she has in her mad jealousy hired a contract killer to murder Camilla. For this she will burn in hell as she reveals (in the person of Betty) to Camilla when Diane's suicide (she'd shot herself in the mouth) is discovered in the bedroom of Diane's house.

At first I thought the primitive emotion that underpins her murderous jealousy was personified by the fearful thing (it's actually a homeless tramp) at the back of Winky's restaurant, i.e. at the back of her mind, which the fellow, who relates his dream to a friend in Winky's, sees. But of course this, interestingly enough, is also the fear of most people in the West; namely, that they will one day end up penniless, without a home or a friend, discarded by loved ones and the society around them. And of course this is what happens to the blue box, the box which is the core of Diane's Selwyn's being, whose key is of course found in Camilla's handbag - and which, symbolically, is used obviously to unlock Diane's being/heart. We see in a later scene the blue box being placed in a brown paper bag by the tramp which he then discards among the rest of the rubbish. It is also pertinent that when Camilla looks into the box in an earlier scene - the camera telescopes through the box - that it is empty and falls to the floor. This signifies that Diane's (empty) dream (and empty soul too) is over and with it, the dream personae, Betty (as we see, Betty has disappeared from the room and the house).

Now there are some interesting details to be gone through here. Instead of the hired killer being successful (hence he's characterised as a ridiculous bungler), Diane fantasizes that the car crashes and Camilla escapes, without her memory of course. Diane's wish to see her lover dead is not realised. Most properly, the fantasy is a form of defence mechanism that serves to relieve Diane of some of her guilt. And true to form, the fantasy has been constructed as one does in dream - to formulate in some fantastic way, a way out of a reality that appears doomed. Because of course Diane's dream of a life has completely collapsed. Hollywood is heartless. Behind the scene lurks a sinister enforcer, the cowboy. The power brokers are much removed, the scene artificial, corrupt and fake. As in the theatre sequence, the performance is phoney and ends with the singer collapsing. As in the fantasy, so this proved a moment of crisis for Diane Selwyn. The dream had been defiled and seen to be false, yet the ferocity of the fantasy remained and could not be kept out. Hence, the scene at the end, when the little gremlin-like Hollywood-infatuated oldies try to get at her from under the door. Unsuccessfully, she tries to flee her own fantasy but cannot. They squeeze in under the door and come at her. With no way out - and she feels doubly boxed in by both her Hollywood dreams and her guilt (afterall she has hired a contract killer to murder Camilla and is being sought after for questioning by detectives), she takes the only avenue available to her, suicide.

People have asked me why the blonde-haired girl, whose picture is shown by the Hollywood mafia guys to the director (the "This is the girl" woman), is also named Camilla Rhodes (that's the name at the bottom of the picture). As you may recall, this is the woman who appears in "real life" at the end of the film at the director's house who kisses Camilla Rhodes on the lips. She is one of Camilla's lovers and is of course a real rival of Diane's for Camilla's affections. It is one thing for Diane to be betrayed by a man (the film director) - and as portrayed, the proposed marriage seems insubstantial, almost farcical - but it's something altogether different that Camilla should feel attracted/lustful towards another woman. But ultimately, in terms of Hollywood, Camilla (her dark-haired lover) is her actual rival. Camilla lands the big Hollywood parts and of course the part in the director's film. But she cannot give herself over in her fantasy to hating Camilla so she replaces her with her rival, the blond woman, hence this woman is given the name Camilla Rhodes.

The story of Diane Selwyn is a tragic one. Afterall, this is the tale of a woman who ends up committing suicide. It is also the story of how this impressionable woman's failed dreams led to her demise and how she tried in desperation to resurrect that dream in the fantasy guise of Betty. This was bound to fail as more and more of her ex-lover's memory was recovered, and concomitantly, as more of Diane's reality intruded. Sadly, Diane Selwyn must be viewed as one of the many lost souls who having fed into the American dream was cast down and discarded - along that murky road down Mulholland Drive - when the fantasy life that provided hope and sustenance collapsed around her.

David Chapkin
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85 of 94 people found the following review helpful
5.0 out of 5 stars Dreams and Hollywood, 23 Dec 2002
By A Customer
Diane, an unsuccessful actress, has a sexual relationship with Camille, a rising star. But Camille tires of the affair, trying to call it off and getting engaged to Adam, a director. Diane, in a jealous rage, engages the services of a hitman, telling him to kill Camille. He says that she will know the deed has been done when a blue key appears in her apartment. Having hired the man, Diane repents and has a dream*. When the blue key turns up, she is tormented by hallucinatory guilt and kills herself.
* The dream.
The dream occupies the first three-quarters of the film. It is Diane's wish-fulfilment fantasy, embodying the following desires:
1. The failure of the hitman to kill Camille.
2. The continuation of her sexual relationship with Camille.
3. Her own success as an actress.
4. Revenge on Adam, for having stolen Camille from her.
In the dream Diane sheds her identity and becomes Betty, fresh-faced, nave, happy, and - crucially - a very talented actress, whose ability is acknowledged by everyone she meets. She only fails to get the starring part in Adam's film because the mafia have coerced him into giving the part to Camille. When Diane and Adam first clap eyes on each other it is obvious that he is thinking, "This is the girl." So Camille's success is not the result of any talent she may have. Moreover, Camille herself becomes transformed in Diane's dream into a nobody, an amnesiac who needs her help.
The developing relationship between the two women in this part of the film is classic, unimaginative wish-fulfilment stuff: two people thrown together by circumstances share a bed for the sake of practicality and end up as lovers.
In fact, the whole of the dream sequence reveals the paucity of Diane's imagination. So immersed is she in the unreality of Hollywood, her dream resembles a vacuous film, in which the characters speak as if reciting rehearsed lines. Diane herself, as Betty, is an unconvincing character, cartoonish and false. The audition scene is ludicrously cosy and mannered, and ironically the only hint of an emotional reality beneath the surface comes when Diane (playing Betty) performs her audition piece. Similarly, towards the end of the dream sequence, it is in the theatre, during a mimed performance, that genuine feeling is manifest, in the form of the swooning singer and the reactions of Diane and Camille in the audience.
The blue key turns up in the dream, no longer as a mundane object but as something strange, fantastic. The box perhaps represents the consequences of the action symbolised by the key. Thus, at the end of the dream sequence, Diane's fantasy gives way to the ineluctable reality of what she has done. The box opens and Camille (as "Rita") is destroyed, sucked into the void. There is also some silly Freudian symbolism in all this box-and-key imagery.
Why does the dream come first in the film, when chronologically it occurs between the hiring of the hitman and the accomplishment of the deed? Because one of the purposes of the film is the deconstruction of the discourse of Hollywood. The dream represents this discourse (based on sentimentality and unreality) and what follows in the film is its refutation and subversion.
Naturally, there are complications. If Diane as Betty seems unreal in the first half of the film (the dream), Camille is equally glacial and one-dimensional in the second half ("reality"), pouting and manipulating like an empty femme fatale. But maybe this is what her success in Hollywood has done to her; perhaps the price of celebrity is unreality.
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21 of 23 people found the following review helpful
5.0 out of 5 stars A Brilliant and Haunting Film, 11 Jan 2003
By A Customer
I am in love with this film but feel the point of it was missed by some at the time of it's release. Polanski has "Chinatown", Preminger has "Laura", Wilder has "Double Indemnity", and Hitchcock has "Vertigo". David Lynch has "Mulholland Drive".
This is a cinematic masterpiece and deserved the grand prize it won at Cannes and should have won the Oscar as well. This is Lynch's indictment of Hollywood and everything is perfect in this film. Naomi Watts as Betty and Laura Harring as Rita are absolutely fantastic in the key roles, as is Justin Theroux as a Hollywood director. It is only three quarters of the way through this film that we come to realize that this masterwork Lynch has created is also a study in psycosis, brought on by the shattered dreams of stardom Betty no doubt had when she first arrived in Hollywood.
Naomi Watts is simply wonderful as the sweet girl from Deep River Ontario come to make good. She finds the sultry but shaken Laura Harring in her aunts house who is "out of town" and tries to help her regain her memory and figure out why she has lots of money and a blue key. Betty is sweet and open and "Rita" (the name Harring takes from a poster of "Gilda" in the apartment") is extemely vulnerable, with no knowledge of her past except that she was in an accident. We are shown the 'accident' at the beginning of the film, billowing smoke surrounding the scene. What part is real and what is illusion becomes clearer later in the film.
It will take a couple of viewings to catch all the clues warning you what is to come. But they are enjoyable viewings. When you get it all figured out days later it is almost heartbreakingly sad, which is the point. Betty's basic decency and goodness propels her to help Rita as the two become closer than friends. Naomi comes to love Rita and this is expressed in one of the most erotically filmed scenes in screen history. We are just a little in love with the sweetness of Betty ourselves and we want the two girls to solve the mystery and find love. Lynch has made us care about both girls, especially Betty at this point in the film and it is the fact that the scene is about love and not just sex that makes it what it is.
What we realize shortly afterward is by getting closer to solving the mystery of what happened on "Mulholland Drive" Betty is at the same time having to let go of this alternate reality she has created in her mind. Something did happen on Mulholland Drive; a sweet girl from Deep River, Ontario, working a dreary job and hanging on to the love of the girl who would always get the parts she couldn't, commits a desperate act so far removed from who she really is that that her mind has to create a better life for herself.
But in typical Lynch fashion, there are 'mysterious goings on,' forces bringing her back to the drearily sad and harsh reality that will bring about our worst fears for this sweet girl from Deep River Lynch has made us fall in love with.
There are great "Lynch" moments in this film, from an inept hitman, to the cowboy director Justin Theroux has to go meet in the Hollywood hills. Like Theroux says to his secretary with resignation, "why not, it's been that kind of day". This is a simply a mesmerizing film you will watch time and again, not just to get it all figured out in your own mind, but because it's so good you'll want to see it again. So what if it was origionally going to be a TV series. Every great film has some kind of great production story behind it.
Lynch has made one of the greatest films in the last ten years at least. This is his indictment of Hollywood and what the dream of stardom does to the innocent searching for it. The fact that it is done by way of a "Twin Peaks" atmosphere makes it as entertaining as it is thought provoking. We will never forget Betty after watching this film. Lynch doesn't want us to. Naomi Watts is wonderful in this Oscar caliber role and both Laura Harring and Justin Theroux were deserving as well.
The score by Angelo Badalamenti sets the mood perfectly for this film, from creating an atmosphere of doom in the opening accident scene to the desperately emotional love scene of Betty and Rita. Strap yourself in for a real ride. This is a truly great film you just have to see. It will stay in your head for a long time. For the reviewers who didn't get it and reviewed this film poorly, I have only one thing to whisper-"Silencio"......
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20 of 22 people found the following review helpful
5.0 out of 5 stars A fantstic puzzle of a Movie, 11 Mar 2003
My advice to anyone who wants a formulaic thriller with cliched characters, explosions, banal 'comic relief' and a coherent chronological structure to stay away from this film until they are ready to take on something more intellectually stimulating than "Titanic"
Mulholland Drive is a movie open to interpretation depending on the viewer, but unlike some of Lynch's films, is more accessable, and overall, more satisfying for it. You don't need to 'get it' to appreciate the acting, cinematography and the sheer scope of the film. It's David Lynch returning to Twin Peaks style Americana, and this time, his target is Hollywood.
The plot itself is difficult to explain. Is it a Nancy Drew-style mystery involving a naiive starlet who's prospects are eternally fortuitous, or is it nothing more than a dream, dreamt by a down-and-out wannabe actress driven to desparation by her failed relationship? These questions, (and many more) will come into your head as you watch the film. Most of them will not be answered, (at least, not by the director), and you may not like, or understand the few answers that the film does provide. However, part of the fun of the movie is in drawing your own conclusions, and working out what is real and what is imaginary.
In a desperate bid to clarify what I'm talking about, 'Mulholland Drive' is like one of those Kit Williams style puzzle books, or the Merlin Mystery - at face value, nothing more than a series of beautiful drawings, a slightly elaborate plot, and a bunch of images that are seemingly out of place. However, everything is designed to give you sufficient clues to working out the puzzle, if you feel so inclined.
At first sight, Naomi Watts' acting isn't up to much - her role is of a wide-eyed happy-go-lucky newcomer to Hollywood, (who's luck is too good to be true) and her lines are delivered in corny 'Brady Bunch' pastiche. It is only later on, as Watts' character(s) develop that you realise that this is deliberate, and that Lynch is actually setting up a series of cliched Hollywood nonsense for the first act, as Watts demonstrates a chamelion-like quality to her acting that really does come across in the film, and really deserves a special mention.
Any Lynch fan will be placated - there are oddities, sultry vamps, enigmatic dwarves, silk-draped settings with chanteuses singing Roy Orbison songs, neon signs and curiosities to ponder over and psychoanalyse at every turn. It is quintessential Lynch. For anyone else, there is a highly original, if not confusing film that goes against all conventions of what a Hollywood movie should be, and is ultimately all the more refreshing for it.
Just don't be too disappointed if the ending is not generic enough for you.
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4 of 4 people found the following review helpful
5.0 out of 5 stars My favourite film, 8 Feb 2009
By 
John O'Connor (Liverpool) - See all my reviews
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This review is from: Mulholland Drive - Special Edition [DVD] (DVD)
It is clear that, as with all Lynch films, Mulholland Drive is not for everyone. That said, if you enjoy surrealism, complexity and, ultimately, being challenged to think, then this is the film for you.
The film does have a storyline, it's just unclear at first (this is from someone who has now watched it 14 times), and it does require a lot of thought. Even if you don't know what the hell is going on (yes, that was me), it is clear when watching that, for one reason or another, this is an astounding film. I am not lying when I say that I finished watching the film for the first time at 1:30am and went straight back for a second viewing.
In my opinion, Mulholland Drive is a masterpiece, and ranks above even the greatest films (note Chinatown, Pulp Fiction etc, as well as other Lynch works). And even if you hate the film, you will definitely not forget it in a hurry.
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11 of 12 people found the following review helpful
5.0 out of 5 stars Stunning, 16 April 2006
By 
David Welsh (Oslo, Norway) - See all my reviews
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Exploring identity and obsession, dream and reality, passion and suffering, Mulholland Drive is a powerful and archetypal film that simply needs to be watched repeatedly in order to be fully appreciated. It is a genuine masterpiece and should not be missed by anyone with a serious interest in cinema.
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