“We’ve met before, haven’t we?”
“Most of Lynch’s later films straddle (at least) two realities, and their most ominous moments arise from a dawning awareness that one world is about to yield to another. In Lost Highway, we are introduced to brooding jazz saxophonist Fred Madison (Bill Pullman) while he lives in a simmering state of jealousy with his listless and possibly unfaithful wife Renee (Patricia Arquette). About one hour in, a rupture fundamentally alters the narrative logic of the film and the world itself becomes a nightmare embodiment of a consciousness out of control. Lost Highway marked a return from the wilderness for Lynch, and the arrival of his more radical expressionism—alternating omnipresent darkness with overexposed whiteouts, dead air with the belligerent soundtrack assault of industrial metal bands, and the tactile sensation that everything is really happening with the infinite delusions of schizophrenic thought.” -Film at Lincoln Center
