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The Art-House Horror of ‘Lost Highway’

“Funny how secrets travel,” David Bowie croons as the music thumps. The camera zooms down a dark desolate highway, illuminated only by the twin beams of a speeding car’s headlights. This is the beginning of David Lynch’s Lost Highway, and it sets the mood for the chaos to come. Lynch rose to auteur status with …

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The Conversation: Drew Morton and Landon Palmer Discuss ‘The Straight Story’

The Conversation is a feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their fourth piece, they will discuss David Lynch’s film The Straight Story (1999). Drew’s Take I am in the midst of my 1999 class and I assigned two films I had yet to …

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Inconstant selves in Brian De Palma’s ‘Sisters’

In Brian De Palma’s Sisters, the titular siblings are French-Canadian Siamese twins surgically separated as adults. Danielle is gentle and lovely, and Dominique gloomy and anguished. This dynamic is complicated by the fact that the former needs the latter to develop her persona. Without Dominique, Danielle has no identity. To weave the fiction of her socially acceptable behavior, she must have Dominique bear the burden of her most disturbing desires. Yet the film, oddly enough, is not about Danielle or Dominique, but about the journalist Grace Collier. As Dominique recedes into the background, Danielle and Grace become the main antagonistic pair, a transition that culminates in an intense climax, a hypnosis dream, that imagines them as conjoined twins. As we learn, Dominique has been dead from the outset, and Danielle has transformed into her in moments of sexual and emotional excitement.

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A (straight) person’s guide to talking about queer cinema

Growing up gay as a suburban teenager in the mid 90s, my access to queer culture was severely limited (ie nonexistent). Before the proliferation of the internet, one relied on the “gay” section in bookstores and video stores, if there even was one, to seek out examples of visible representation in the media throughout the …

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The birth of ‘The Grandmother’ and Lynchian themes

The Grandmother Written by David Lynch Directed by David Lynch USA, 1970 Mrs Bates lived on inside Norman’s fractured psyche. Her continued residence compensated for the guilt her son felt following her murder. Ever present, her spectral presence kept watch in the guise of a maternal superego overlooking the Bates motel from close quarters. Psycho …

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‘Mulholland Drive’ baffles the mind

Mulholland Drive Directed by David Lynch Written by David Lynch 2001, USA I have never seen a David Lynch film. I know very little about him. I doubt that I truly grasped that Lynch was a surrealist filmmaker before now, yet Eraserhead and Mulholland Drive have been on my to-be-watched list for a decade. So …

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Inside Out 2012: ‘Kiss Me’; a classic tale of love destined to become a classic of its own

Kiss Me Written and directed by Alexandra-Therese Keining Sweden, 2011 Like in Mulholland Drive, the first intimate encounter between the two female leads is delicately depicted. Perfuse with undeniable eroticism and composed with such seductive elegance, this moment is mediated on absolute and instinctive passion. Framed amongst the forbidden circumstances of their carnal convergence, the …

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