Mulholland Drive – Flip Screen

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Image is from the film 'Always Shine' (2016). The film still shows Anna, now performing as Beth, in the middle of the frame. She’s looking right into the camera with her head tilted to one side, almost like she knows viewers are watching her performance. She’s biting on her thumb, reminiscent of an innocent child as she’s trying to mimic the body language of Beth. She looks nervous and timid. Anna is wearing Beth’s button-up romper suit with a flower pattern, with a light brown belt in the waist. In the background is a long desk visible – filled with miscellaneous objects including a globe and a cowboy hat all in a row – along with a big window showing the green nature of Big Sur.

Five Years Later: Sophia Takal’s ‘Always Shine’ (2016) and the Horror of Being Trapped in Performance

While film history contains many portrayals of backstabbing women on the verge of a breakdown, Always Shine offers the idea that the terrifying thing isn’t women themselves but rather the limiting roles society provides for them (along with the disastrous results they lead to).

Image from the film Mulholland Drive. A man is on the phone in a dimly lit room.

How David Lynch Doesn’t Use Dialogue in ‘Mulholland Drive’ (2001)

By: Shay Gillams 21st Sep 202020th Sep 2020

Essay, FilmDavid Lynch, Mulholland DriveLeave a Comment

In 2001, David Lynch blessed and cursed the world with Mulholland Drive, an intricately crafted, deeply confusing suspense-noir that deals in Hollywood cynicism, dread, guilt, illusion, innocence, beauty and disdain in equal measure.

This image is from Mulholland Drive. Betty daydreaming overlaid with Los Angeles Palm Trees

‘Mulholland Drive’ (2001) and the Artifice of the American Dream

By: Jennifer Maxwell 29th Jul 202028th Jul 2020

Essay, Featured, FilmDavid Lynch, Film, Laura Harring, Mulholland Drive, naomi watts, SurrealismLeave a Comment

How David Lynch tricks the audience and dismantles the American Dream in Mulholland Drive.