Recently, a small film festival with the self-confident name "Big Film Maneuvers" was held in Moscow. The main event of the festival - especially zealous moviegoers were able to watch the latest work of David Lynch - the film "Mulholland Drive" (Mulholland...

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Recently, a small film festival with the self-confident name "Big Film Maneuvers" took place in Moscow. The main event of the festival - especially zealous moviegoers were able to watch the latest work of David Lynch - the film "Mulholland Drive" (Mulholland Dr.)

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The films of the American director Lynch can easily be described by the famous Hessian phrase: "Magical theater - only for lunatics - entrance fee - reason." In the theater in the last creation of the evil joker, everything is being built. This time, Lynch told the world the saga of the American Art of Cinema attraction. He just took and threw the viewer into the hell of the Hollywood film industry.

The plot of the film is simple, the objects of attention are typical - famous directors and actresses of all stripes: beginners, unsuccessful and famous. The setting matches Hollywood's richest neighborhood (accessible via Mulholland Drive): behind-the-scenes intrigues, business scams, contract killings, unfulfilled and fulfilled dreams, lesbian love, profitable marriages, adultery and elderly rich Americans - forever smiling - wrinkled symbols of respectable areas of America like California or Florida.

But Lynch would be petty if he stopped at a mere display of Hollywood reality. Before you understand what he is talking about just about this himself, you need to deal with a great many of Lynch's "troubles". The director put such an experiment on the viewer that the test subjects after the session were sincerely interested in each other: did Lynch want to say something with his film at all or just sketched a bunch of spectacular pictures on the film.

The film starts and ends with fast food. What else can be associated with mass American cinema, if not with the fast food system?

The maestro began his game with the main miracle of the blue screen - the possibility of reincarnation, namely the ability of one person (actor) to try himself in different situations (roles). To do this, Lynch broke the plot of the film into three equal parts, in which he forced the actors to change roles.

If you solve this puzzle (and Lynch's answers do not lie on the surface), then everything else will decompose correctly and beautifully - like a perfectly calculated solitaire.

Particularly observant will note that the face of the society lady Coco is one to one the physiognomy of a dwarf from Lynch's previous films Highway to Nowhere and Blue Velvet. Apparently, Lynch decided to make the disgusting freak his calling card, which is quite in his spirit. Although, judging by the "Mulholland Drive", the director has become calmer, more stately and generally closer to wisdom. Lynch no longer scares around the corner, does not cause unnecessary fuss; he fascinates, attracts, gives a closer look, and then plunges into shock. It pounces on the viewer like a helpless puppy, and methodically cracks down on its victim.

Soon Lynch's last film will be shown on our wide screens.