Mulholland Drive. Silencio !Silence on tourne, silence on rêve, silence on meurt

It is tempting to approach David Lynch’s universe via the film Mulholland Drive insofar as it illustrates the multiple ways of understanding it and the wavering of identity-related and temporal certainties, as well as the evocative force of the moving sound image. A central film in the filmmaker’s work, Mulholland Drive makes the viewer at once a dreamer, an interpreter and an investigator eager to discover a hidden truth that slips away a little more with each new clue it provides. In the interpretation offered, the first part of the film is a dream based on the Freudian mechanisms of the dream-work (reversal, displacement, condensation, etc). This dream is assailed by the irruptions of distorted elements of external reality until the moment of awakening when the second part of the film, with its tragic dimension, develops. The two-stage genesis of the production and writing of the film is unfolded infinitely both in its very construction and in its dramatic mechanisms, dialogues and characters as a whole. Other points of convergence with psychoanalysis are discussed, notably with regard to the representation of actions, interpretation and creation, the coexistence of several worlds, several narrative lines that allow for an infinite renewal of the need to know and the capacity for desire.