Synopsis
A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgangers, and an impossible transformation inside a prison cell.
Lost Highway
1997 Directed by David Lynch
Cast
Bill Pullman Patricia Arquette Balthazar Getty Robert Blake John Roselius Louis Eppolito Jenna Maetlind Michael Massee Henry Rollins Michael Shamus Wiles Mink Stole Leonard Termo Ivory Ocean Jack Kehler David Byrd Gene Ross F. William Parker Guy Siner Alexander Folk Gary Busey Lucy Butler Carl Sundstrom John Solari Jack Al Garrett Heather Stephens Giovanni Ribisi Scott Coffey Natasha Gregson Wagner Show All…
Director
Producers
Writers
Editor
Cinematography
Production Design
Set Decoration
Composer
Sound
David Lynch Susumu Tokunow Frank Gaeta John Ross Derek Marcil Javier Bennassar David Melhase Benjamin L. Cook Cormac Funge Elmo Weber Bill Brown Dean Hovey Frederick Howard Jiří Zobač Thomas Jones
Make-Up
Studios
Countries
Language
Alternative Titles
妖夜慌踪, Útvesztőben, 로스트 하이웨이, Шоссе в Никуда, Por El Lado Oscuro del Camino
Popular reviews
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Fred: "I like to remember things my own way"
Cop: "What does that mean?"
Fred: "How i remember them, not necessarily how they happened"
Maybe this explains the whole movie? I dont know.... My brain hurts!
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"do you own a video camera?"
"no. fred hates them."
"i like to remember things my own way."
"what do you mean by that?"
"how i remembered them. not necessarily the way they happened." -
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david lynch is the biggest mood honestly because i also have no clue what the fuck is going on at any given moment
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What does the Black Lodge see when it sees us? A labyrinth of doors and exits? Loops and circuits in spacetime fissured and joined, continuous until discontinuous, unidentical at every point yet self-similar? A network to transit, an environment in which to be and to become.
What is noir? Like, what does it do and how does it do it? Noir is about unequal informatics, of landscapes that shift and dissolve based upon their inhabitants and their relative positioning to each other. Noir is the set-up and the execution of the set-up. The set-up necessarily precedes those who enter into it but the set-up is not a set-up until someone wanders in to activate it as such. Noir is a…
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one of the few films in cinema history
in which there is no division or distinction
between the elements of space and time;
a movie melded within an alternate
spacetime continuum, in which length,
breadth, and depth hold no usefulness
or value & the four faux dimensions fuse into
a nightmare realm of an interminable turnpike. -
do you watch David Lynch movies at 1 in the morning as a way to escape your reality by immersing yourself in a seemingly never-ending twisted fantasy world of darkness or are you normal
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I wake up. I'm sweating. Lost. Confused. Annoyed. The walls are plastered with red. I hate red. The room is small, or at least I think it is. It's getting tighter the more I observe, crashing in on itself in a claustrophobic fashion. The radio is blaring, showcasing a constant thunder of cool ass tunes that correspond with the lightning storm outside. In spite of all the feverish mayhem, I happened to notice someone. His coat was the same color as the cheap paint, already having loose stitches just like the chipping boundaries of the room. He was standing in the corner. He didn't seem to care about me. He was screaming at the top of his lungs straight into…
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The enigma of feminine desire as horror. Lynch's alternate version of Mulholland Drive is equally fascinating in how both posit the 2 dimensions of reality and fantasy in a horizontal linearity, exploring the connection between the realms and their effect on each other. Lost Highway presents a drab upper middle class suburban reality where our protagonist is married to a beautiful woman, and terrorized by the enigma of his wife who doesn't "properly" respond to his advances. Frustrated with his impotence, he kills her, and enters this fantasmatic realm where he reinvents not only himself but his entire social environs, creating an atmosphere that can be most closely associated with film noir. His wife becomes a blonde bombshell who praises…
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It seems that there are at least two ways to enjoy a David Lynch film. One is to expect it to make sense and do everything you can to analyze the shit out of it until it does. The other is to just revel in the weirdness and the creativity and not worry about making all the pieces fit together.
On my first watch of Lost Highway, I can't possibly put into words what the fuck happened. I feel like there are things I implicitly understood about the narrative and the connection between the two halves of the film, but what I took away from it was a wordless feeling of unease and anxiety. I don't want to think about…