Mulholland Drive (film)

Mulholland Drive

Company type	Film
Industry	Motion picture
Founded	2001
Founder	David Lynch
Products	Surrealist neo-noir mystery film

Mulholland Drive is a 2001 surrealist neo-noir mystery film crafted and helmed by David Lynch. The plot centers on an aspiring actress (Naomi Watts) who arrives in Los Angeles and forms a bond with a woman (Laura Harring) suffering from amnesia following a car crash. The storyline takes unexpected turns, with characters adopting different identities, and includes scenes such as a Hollywood director (Justin Theroux) confronting organized crime interference while casting his newest project.

Initially developed as a television pilot for ABC, footage was filmed and assembled in 1999 as an unresolved mystery. When network executives rejected Lynch’s version, he obtained financing from the French company StudioCanal to transform it into a full-length feature, incorporating additional scenes and a conclusion. The final surreal tale remains open-ended; Lynch chose not to explain its significance, leading to continuous debate among viewers, critics, and cast members.

Mulholland Drive brought Lynch the Best Director award at the 2001 Cannes Film Festival and earned him an Academy Award nomination in the same category. The film notably elevated Watts’ status in Hollywood and served as the last film role for veteran actress Ann Miller.

The movie has maintained widespread critical praise and frequently appears on lists of cinema’s greatest achievements. In the 2022 Sight and Sound critics’ poll, it was ranked eighth. Both the BBC and IndieWire designated it as the top film of the 21st century, while the Los Angeles Film Critics Association named it the best movie of the 2000s.

Plot

A woman is moments away from being shot by her chauffeur but is saved when another car crashes into them on Mulholland Drive. She survives the collision and hides inside an empty apartment. The next day, Betty Elms, an aspiring actress from Deep River, Ontario, arrives at an apartment loaned by her aunt. Betty discovers the woman inside, who suffers from amnesia yet remembers she is in danger. The woman adopts the name "Rita" after spotting a Gilda poster featuring Rita Hayworth. They find a substantial amount of money and a mysterious blue key inside Rita’s purse.

A man recounts a nightmare involving a terrifying figure lurking behind Winkie's diner on Sunset Boulevard. Despite doubts, he investigates with a companion; the figure appears, causing him to collapse.

Film director Adam Kesher faces coercion from mobsters to cast unknown actress Camilla Rhodes as the lead in The Sylvia North Story. His refusal halts production. Adam discovers his wife with another man and is expelled from his home after an altercation. His assistant offers sexual favors, which he declines. A cryptic cowboy advises him to cast Camilla. Meanwhile, hitman Joe Messing botches an assignment, killing two innocent bystanders.

At Winkie's diner, Rita encounters waitress "Diane," recalling the name "Diane Selwyn." Betty finds Diane’s address but leaves for an audition that goes successfully. The casting agent introduces her to Adam, who is casting for The Sylvia North Story. They share a meaningful glance before Betty rushes back to Rita. Under pressure from mobsters, Adam reluctantly hires Camilla.

Betty and Rita visit Diane Selwyn’s apartment and discover a decomposing body in bed. Shocked, Rita attempts to cut her hair but Betty convinces her to wear a blonde wig matching Betty’s hairstyle. They become intimate and fall asleep; however, Rita awakens chanting "silencio, no hay banda" ("silence, there is no band").

Rita insists on going to Club Silencio where they witness a stage performance featuring trumpeter and singer Rebekah Del Rio lip-syncing pre-recorded songs. Afterward, Betty removes a blue box matching Rita’s key from her purse. Returning home alone, Rita finds Betty missing. Upon opening the box, Rita disappears as well.

Diane Selwyn, a despondent actress resembling Betty, awakens in the apartment they had previously explored. A neighbor warns her that detectives are searching for Diane. She daydreams about Camilla Rhodes, a successful actress who looks like Rita. Diane breaks down recalling Camilla ended their relationship.

Camilla invites Diane to Adam’s party on Mulholland Drive. Diane tells Adam’s mother she moved to Los Angeles with an inheritance and met Camilla during auditions for The Sylvia North Story. Adam cast Camilla as lead; they are romantically involved; Camilla hosts the party to announce their engagement. Diane trembles with anger.

Diane hires hitman Joe Messing at Winkie's (where a waitress named "Betty" works) to assassinate Camilla. He promises to leave a blue key as evidence. Later, tormented Diane stares at the blue key on her table. Haunted by visions, she retreats to her bedroom and takes her own life with a gunshot. At Club Silencio, a blue-haired woman whispers "silencio".

Themes and interpretations

David Lynch chose to provide only the tagline "A love story in the city of dreams" for Mulholland Drive, deliberately refraining from clarifying its symbolism or meaning, which has led to widespread debate and diverse analyses. Following the Cannes premiere, Lynch stressed that the movie "tells a coherent, comprehensible story," setting it apart from his earlier work such as Lost Highway. Justin Theroux highlighted Lynch's encouragement of varied readings, remarking that Lynch "enjoys when people come up with really bizarre interpretations" and creates from his subconscious mind. The film is commonly categorized within the neo-noir tradition.

Dreams and alternative realities

One of the initial readings interprets the film’s opening segment as a dream imagined by the real Diane Selwyn, who envisions herself as the optimistic "Betty Elms," an aspiring actress living out a classic Hollywood fantasy. The subsequent portion depicts Diane’s actual existence, characterized by personal despair and career setbacks. She orchestrates the murder of Camilla, her former lover, and reimagines Camilla as Rita, an amnesiac dependent figure. Throughout the dream sequences, subtle hints suggest Diane’s tragic decline.

Naomi Watts endorsed this perspective, proposing that Betty embodies Diane’s idealized self, controlling Rita as a fantasy reflection of Camilla. Watts related her own early challenges in Hollywood to Diane’s experience of dashed hopes and isolation prior to success. Michael Wilmington from the Chicago Tribune described the narrative as revealing Hollywood’s alluring dream transforming into a poisonous blend of jealousy, compromise, and defeat.

A survey by The Guardian found that most critics concur with the idea that Betty represents Diane’s imagined better life. Roger Ebert and Jonathan Ross accepted this interpretation but warned against excessive dissection, noting unresolved plot elements possibly originating from the initial pilot script. Philip French viewed it as a metaphor for Hollywood tragedy, while Jane Douglas of the BBC cautioned against reading too deeply into every detail.

Media theorist Siobhan Lyons challenges the dream hypothesis as overly simplistic, suggesting that Betty and Diane are separate individuals who merely resemble one another—a recurring motif in Hollywood narratives. Other analyses propose concepts such as parallel realities or a Möbius strip-like narrative structure. Frequent motifs involving beds and sleep emphasize dream influences; Rita’s episodes of unconsciousness frame disjointed scenes, implying they may be dream states. The film’s opening shot zooms into an unidentified sleeper, inviting doubt about what is real.

Kelly Bulkeley, an expert in dream studies, points to a diner scene explicitly referencing dreams as central to grasping the film’s epistemological ambiguity. The monstrous figure discussed by patrons at Winkie’s later appears near Diane’s suicide scene, linking dream imagery with reality’s disintegration.

Philosopher Robert Sinnerbrink observes that after Diane’s suicide, images blur fantasy and reality together, portraying her dying consciousness culminating in the final "Silencio." Similarly, Andrew Hageman interprets this ending as revealing "the illusion of illusion," extending beyond Diane’s conscious experience.

Film theorist David Roche asserts that Lynch’s works compel viewers to act as detectives within fragmented storytelling. In Mulholland Drive, narrative voiceover predominates over linear plot progression, leaving several mysteries unresolved by characters including Betty, Rita, and Adam. The film itself becomes an enigma maintained by audiences’ urge to interpret rather than offering definitive answers.

A "toxic love letter to Hollywood"

Film critics concur that no single interpretation fully clarifies the mysteries within Mulholland Drive. Stephen Holden from the New York Times characterizes it as "a continually deepening meditation on Hollywood’s allure and the multifaceted role-playing and self-reinvention that cinema promises," underscoring Hollywood’s cultural influence. J. Hoberman of the Village Voice refers to it as a "toxic love letter to Hollywood," emphasizing its intricate critique of the industry.

The movie invites comparison to Billy Wilder's 1950 film noir classic Sunset Boulevard, another story centered on broken dreams in Hollywood. Early sequences depict Rita crossing Sunset Boulevard, creating a symbolic link between the two works. Beyond sharing iconic Los Angeles street names, Mulholland Drive represents Lynch’s distinctive investigation into human deterioration beneath Hollywood’s fantasies—a theme he mentioned during the 2001 New York Film Festival. Lynch’s personal familiarity with Mulholland Drive contributes to the film’s mood; he described the road as enigmatic and evocative of Hollywood’s past. Actress Naomi Watts recalled driving along this street before her breakthrough, reflecting on her own uncertainties at that time.

Critic Gregory Weight cautions against interpreting Lynch’s depiction as purely pessimistic, noting that while the film critiques Hollywood’s deception and manipulation, it simultaneously conveys nostalgia for traditional filmmaking. Lynch honored veteran performers such as Ann Miller, Lee Grant, and Chad Everett, portraying Betty as a highly skilled actress acknowledged by industry professionals. Academic Steven Dillon remarks that Mulholland Drive critiques not only Hollywood culture but also cinephilia itself.

Actress Laura Elena Harring viewed the film as an exploration of dreams, illusion, obsession, and identity within Hollywood. She highlighted its ambiguous nature, pointing out that it prompts repeated viewings and ongoing reflection rather than offering clear-cut answers—successfully provoking thought and inquiry.

Romantic content

The relationships between Betty and Rita, as well as Diane and Camilla, have been described as "touching," "moving," and "sensual." French critic Thierry Jousse lauded the women’s love as possessing "lyricism scarcely matched in contemporary cinema." Phillip Lopate emphasized the romantic interlude between Betty and Rita as a deeply emotional moment of self-awareness and longing, while Stephanie Zacharek noted its strong erotic charge permeating the entire film. Betty and Rita were recognized by the Independent Film Channel as iconic romantic figures of the 2000s, embodying both beauty and tragedy.

Some analysts suggest Lynch weaves queerness into both the film’s style and themes. The non-linear storytelling disrupts traditional realism, with lesbian desire serving as a pivotal element linking competing narrative worlds. Mirrors and doubles—frequent symbols of lesbian longing—highlight themes of dependency and identity fusion, echoing films like Ingmar Bergman’s Persona and Robert Altman’s 3 Women. Lynch explicitly references Persona through scenes emphasizing physical resemblance and doubling, reinforcing queer motifs.

Nevertheless, some critics argue Lynch perpetuates LGBTQ stereotypes. Rita (the femme fatale) and Betty (the innocent schoolgirl) embody familiar lesbian tropes. Heather Love identifies clichés such as lesbian desire portrayed as an adventurous discovery alongside a tragic bisexual love triangle where the bisexual woman ultimately ends up with a man. Maria San Filippo notes Lynch’s use of noir archetypes to foreshadow Camilla’s betrayal. Diane represents the “tragic lesbian” yearning for bisexual Camilla, caught between triumph and failure. Media coverage frequently fixated on the film’s sexual scenes, reflecting societal discomfort with female same-sex desire. The contrasting relationships are seen as both intensely erotic yet fundamentally sorrowful, illustrating heterosexual norms’ predominance.

Heterosexuality becomes central in the latter part of the story, with Diane and Camilla’s relationship deteriorating amid Camilla’s impending marriage to Adam. Diane’s plan to eliminate Camilla disrupts conventional heterosexual resolution but results in tragedy, highlighting tension between thriller conventions and lesbian narratives.

Actresses Naomi Watts and Laura Elena Harring shared differing views on their characters’ relationship. Watts described filming their scenes as emotionally taxing but acknowledged its sincere depiction of love and sensuality. Harring expressed appreciation for their connection but questioned labeling it strictly lesbian due to her character’s amnesia. Heather Love agrees that identity matters less than desire in this work: "who we are is less important—what counts is what we are about to do."

Characters

Betty Elms (Naomi Watts) is portrayed as an intelligent and gifted newcomer to Los Angeles, characterized by her "wholesome, optimistic" nature and a strong determination to make an impact in the city. Her fearless willingness to assist Rita evokes comparisons to Nancy Drew. Although initially presented as a stereotypical small-town innocent, Betty’s identity—or its dissolution—forms a core element of the narrative. Watts based Betty’s character on icons like Doris Day, Tippi Hedren, and Kim Novak, depicting her as an adventurous individual eager to embrace a new persona. This portrayal has led to interpretations of Betty as an active participant within the Hollywood system that ultimately leads to her downfall. Watts highlighted the difficulty in balancing the portrayal of fantasy and reality in this role.

Betty’s talent as an actress becomes apparent during an audition scene where she elevates a weak script into a compelling display of sexual tension that captivates the room. This moment shifts the film’s focus from Rita’s mystery to Betty herself, exemplifying Lynch’s use of misdirection in character portrayal. Some critics argue that Betty’s performance may backfire if she is, in fact, embodying Diane within a dream or satirical context.

Rita (Laura Elena Harring) embodies the enigmatic and vulnerable femme fatale with striking dark features. Roger Ebert praised her as a strong case for remaking Gilda. Serving as a foil to Betty’s brightness, Rita initially functions as the audience's primary point of connection due to her confusion and amnesia. Her vacant demeanor allows viewers to project various interpretations onto her character. Rita awakens Betty’s protective instincts, and their relationship deepens both visually and emotionally, culminating in Rita wearing a blonde wig reminiscent of Betty—a visual metaphor for their merging identities—and signaling Rita’s growing dominance.

Following the discovery of a decayed corpse, Betty and Rita escape, their images fragmented through special effects that mirror their psychological states. Upon returning to Betty's aunt's apartment, Rita’s adoption of the blonde wig symbolizes their intertwined identities and foreshadows Camilla's increasing influence.

Diane Selwyn (Watts) is depicted as a disillusioned and melancholic woman who idolizes Camilla but experiences unreciprocated love. She is often interpreted as the real person behind Betty’s idealized image or as Betty’s later self after becoming jaded by Hollywood. Diane channels her emotional void into Rita’s character. She represents dissatisfaction and complex morality; despite her vulnerabilities and eventual suicide, she retains a personal ethical code corrupted by the darker aspects of Hollywood life. Themes of guilt and remorse are central to Diane’s storyline, connecting to earlier revelations in the film.

Camilla Rhodes (Melissa George, Laura Elena Harring) initially appears only through photographs and mention within industry conflicts. After the blue box sequence, she becomes a symbol of betrayal and abandonment as Diane's object of sexual obsession and frustration. Camilla starkly contrasts Diane—more sensuous and seemingly draining Diane's vitality—while publicly humiliating her through professional manipulations. Critics interpret Rita as embodying Diane’s fragile longing for Camilla.

Adam Kesher (Justin Theroux) is portrayed as a confident yet beleaguered director subjected to repeated indignities. Theroux describes Adam as bewildered by his predicament, mirroring audience confusion. Deprived of creative control over his project and betrayed by his pool cleaner, Adam maintains consistent traits throughout. Analysts link Adam’s submission to studio demands—particularly casting Camilla—to the erosion of Betty’s optimism, attributing blame for ensuing tragedy to entrenched studio power structures. His ambition for authority supersedes personal loyalties.

Supporting characters include The Cowboy (Monty Montgomery), Castigliani Brothers (Dan Hedaya and Angelo Badalamenti), and Mr. Roque (Michael J. Anderson), who exert pressure on Adam to select Camilla for the film, representing suppressed creativity within an authoritarian industry hierarchy. Ann Miller portrays Coco, who first welcomes Betty into Hollywood's established order but later appears as Adam's mother chastising Diane—underscoring shifting dynamics within Hollywood’s power hierarchy.

Style

David Lynch’s approach to filmmaking is often characterized as profoundly strange, darkly atmospheric, and eccentric. Todd McGowan remarks that Lynch’s works resist standard modes of interpretation. By combining familiar tropes with surreal imagery, dreamlike sequences, nonlinear plots, and unique cinematographic techniques, Lynch unsettles the audience’s grasp on what is real. In Mulholland Drive, numerous figures embody archetypal roles—the optimistic newcomer, the enigmatic femme fatale, the rebellious director, and shadowy influencers—set within surreal environments that blur the line between illusion and actuality. Jennifer Hudson describes Lynch’s aesthetic as “the fluid language of dreams.”

Deception is a recurring motif in Mulholland Drive. The character Mr. Roque, who wields control over film studios, is played by dwarf actor Michael J. Anderson with exaggerated prosthetic limbs emphasizing his disproportionately small head. Scenes such as Diane observing Camilla’s manipulative tactics reveal layers of psychological depth and ambiguity, leaving viewers uncertain if events are factual or products of paranoia. Skillful camera work further undermines certainty; for instance, a sequence initially showing a woman singing is later revealed as a sound stage where Betty encounters Adam Kesher.

Stephen Dillon highlights Lynch’s diverse camera placements, including handheld shots that immerse viewers in characters’ tension while simultaneously disrupting the sense of stable identity. Andrew Hageman points out how irregular camera movements produce subjective perspectives, notably during conversations at Winkie’s diner. Scholar Curt Hersey identifies avant-garde methods in Lynch’s work such as sudden shifts in editing, nonlinear storytelling structures, and the use of CGI.

The film’s opening segment introduces Betty, Rita, and Adam with relatively straightforward cinematic techniques. Later portions adopt more fragmented editing and harsher lighting to mirror Diane’s physical and emotional decline, contrasting sharply with the earlier luminous visuals. Transitions evolve from wide shots of Los Angeles to purely auditory cues connecting scenes, which heighten narrative uncertainty. For example, the sound of breaking dishes at Camilla’s party transitions into a diner scene where Diane speaks with a hit man. These devices create an uncanny sensation by presenting recognizable elements in unfamiliar settings. Valtteri Kokko identifies recurring motifs of the uncanny: doppelgängers portrayed by the same actors, dream sequences, and the mysterious blue box that precipitates Rita’s disappearance and Diane’s altered reality.

Sound design plays a crucial role in Lynch’s stylistic signature. He focuses on perfecting audio elements until they feel precisely right, layering sounds to evoke emotional shifts. For example, subtle steam noises combined with distant screams transform a character from awkward to terrified. Critics note persistent unsettling ambient sounds that heighten tension throughout the film. The finale at Club Silencio exemplifies Lynch’s use of auditory illusion and surrealism; Ruth Perlmutter observes that once the film concludes, “there is only silence and enigma.”

Development

Initially planned as a television series, Mulholland Drive started as a 90-minute pilot created for Touchstone Television and aimed at the ABC network. Tony Krantz, known for his involvement with Twin Peaks, showed strong enthusiasm for developing another TV project. Lynch proposed the concept to ABC, centered on the character Rita, who appears after a car crash carrying $125,000 and a mysterious blue key, while Betty attempts to discover her identity. An ABC executive recalled the unsettling premise and Lynch’s hints about where the story might lead.

Reluctant to return to television following Twin Peaks and the swift cancellation of On the Air, Lynch criticized the frequent commercial breaks typical of TV but valued its potential for extended narrative depth. The storyline contained surreal aspects reminiscent of Twin Peaks, involving plotlines such as Rita’s enigma, Betty’s professional journey, Adam Kesher’s filmmaking endeavor, and a planned romantic subplot between Betty and Adam.

The pilot was allocated a $7 million budget, with Lynch required to film a conclusive ending in case ABC declined to continue the series. However, ABC executives found Lynch’s narrative pacing slow and expressed reservations about casting Naomi Watts and Laura Harring, deeming them somewhat too mature and Betty’s character overly naive. Additionally, ABC objected to Lynch’s portrayal of smoking due to content guidelines. Despite making script adjustments, Lynch preserved his distinctive style.

After presenting ABC with a rough cut, the network promptly rejected the pilot. Pierre Edelman, a friend of Lynch, suggested adapting it into a feature-length film. This idea attracted interest from Canal+, which led to extensive negotiations lasting about a year.

Actress Sherilyn Fenn later disclosed that the initial concept originated during the filming of Twin Peaks as a potential spin-off movie focusing on her character Audrey Horne.

Casting

Lynch selected Naomi Watts and Laura Harring based solely on their photographs and conducted interviews without prior knowledge of their previous acting credits. Harring experienced a minor car accident on her way to the interview, eerily paralleling her character’s storyline. Watts arrived informally after a flight and was asked to return looking more polished; she was officially cast two weeks later. Lynch commended Watts for her talent, intelligence, and adaptability. Justin Theroux met Lynch immediately after flying in; his unkempt appearance influenced his character’s styling.

Filming

The pilot’s filming commenced in Los Angeles in February 1999 over six weeks. Ultimately, ABC rejected it due to concerns about nonlinear storytelling, casting age issues, and certain content elements. Lynch expressed dissatisfaction with the mandated edits that undermined the pilot’s quality.

Following approval to develop the project as a feature film, Lynch rewrote and expanded the script by eighteen pages that enriched character dynamics and story arcs. This rewrite was sparked by a creative insight during meditation. Most of these new scenes were shot in October 2000 with $7 million financing from French production company StudioCanal.

Theroux described working without full knowledge of the plot, noting that Lynch’s selective disclosure preserved mystery but was effective thanks to his direction. Watts admitted she pretended to understand the story in order to satisfy Lynch, who enjoyed keeping the cast intrigued.

Laura Harring recalled feeling exposed filming an intimate scene with Watts despite their friendship, especially given the presence of a large crew.

Soundtrack

The soundtrack for Mulholland Drive was overseen by Angelo Badalamenti, a frequent collaborator of Lynch known for his work on projects such as Blue Velvet and Twin Peaks. Badalamenti earned nominations from the American Film Institute (AFI) and the British Academy of Film and Television Arts (BAFTA) for his contributions to the film, and he also makes a brief cameo appearance.

Reviewers characterized Badalamenti’s composition as his "darkest yet," effectively amplifying the film’s enigmatic atmosphere by juxtaposing ominous string arrangements with lighter melodies that symbolize Betty's arrival in Los Angeles. Journalist Daniel Schweiger emphasizes the score’s spectrum, ranging from "almost motionless string dread to noir jazz," culminating in "an eruption of boundless darkness." Badalamenti supplied Lynch with several slow-paced pieces, termed "firewood," from which Lynch extracted segments to craft the film’s unsettling sound environment.

Two pop songs from the 1960s are prominently featured during an audition sequence, reflecting Lynch’s recurring theme of female characters expressing themselves through lip-sync performances. Connie Stevens' "Sixteen Reasons" accompanies visual illusions unveiled by the camera, while Linda Scott's solo version of Jerome Kern’s "I've Told Ev'ry Little Star" is interpreted as an anthem of empowerment for Betty. Portions of Scott’s song are distorted to imply a "sonic split-identity" for Camilla, heightening narrative tension during the audition scene.

A key moment unfolds at Club Silencio, where singer Rebekah Del Rio performs an a cappella Spanish version of Roy Orbison’s "Crying" ("Llorando"). This sequence is widely regarded as one of the film’s most inventive. Lynch discovered Del Rio in Nashville and integrated her performance directly into the movie. The song poignantly underscores the emotional peak between Betty and Rita before their identities merge into Diane and Camilla's complex relationship.

Film scholars interpret this multilingual theatrical segment as a metaphor for fractured identity and relationships, with Lynch prioritizing emotional impact through visuals and sound over intellectual explanation. The lingering music after Del Rio's departure evokes a surreal sensation akin to Magritte’s painting Ceci n'est pas une pipe.

Release and reception

Mulholland Drive debuted at the 2001 Cannes Film Festival in May, receiving widespread critical acclaim. Lynch was awarded the Best Director prize, which he shared with Joel Coen for The Man Who Wasn't There. The film elicited strong reactions from both critics and audiences.

Promoted with enigmatic "Mulholland Dr." posters, Universal Pictures released it across 66 theaters in the United States on October 12, 2001, generating $587,591 during its opening weekend. It later expanded to 247 venues, accumulating $7,220,243 domestically. TVA Films distributed it in Canada on October 26, 2001. The international box office totaled $12,897,096, bringing the worldwide gross to $20,117,339 during its initial run.

Since its release, Mulholland Drive has attracted both severe criticism and extensive praise. On Rotten Tomatoes, it holds an 84% approval rating based on 262 reviews, with an average rating of 7.8/10. The critical consensus highlights Lynch's dreamlike neo-noir approach alongside Naomi Watts's captivating performance. On Metacritic, it boasts a weighted average score of 87 out of 100 from 37 critics, indicating "universal acclaim."

Roger Ebert of the Chicago Sun-Times awarded four stars, describing it as a surreal Hollywood noir and a pinnacle in Lynch’s career. Stephen Holden of The New York Times likened it to Fellini's 8½, commending its introspective depth. Edward Guthmann from the San Francisco Chronicle praised its dreamlike visuals and strong direction. Peter Travers of Rolling Stone hailed it as a revitalizing achievement for Lynch and one of the year's standout films.

Critics such as J. Hoberman from The Village Voice regarded it as Lynch's finest work since Blue Velvet. A.O. Scott lauded its intoxicating departure from traditional storytelling conventions. Conversely, some detractors included Rex Reed who dismissed it as incoherent rubbish and Peter Rainer who criticized its lethargic tone. Todd McCarthy of Variety acknowledged memorable sequences but found the concluding act overly abstract. James Berardinelli accused Lynch of deliberately confusing viewers.

Despite divided opinions, the film has secured a significant legacy: it was named best film of the decade by the Los Angeles Film Critics Association, and received recognition from outlets such as Cahiers du cinéma, IndieWire, and Slant Magazine. It ranked prominently on decade-end lists compiled by The Guardian, Rolling Stone, Canadian Press, among others. In 2010, The Guardian ranked it as the second-best arthouse film ever made.

The British Film Institute placed it as the 28th greatest film in 2012 and elevated it to 8th in 2022—one of only two films from the 21st century included in their top 50 list. A 2015 BBC poll ranked it 21st among American films; in 2016 BBC Culture declared it the greatest film of the 21st century. A restored 4K version was showcased at the Cannes Classics section in 2021.

In June 2025, Mulholland Drive was positioned second on The New York Times list titled "The 100 Best Movies of the 21st Century" and achieved similarly high placement in a readers' poll. In July 2025, it secured ninth place on Rolling Stones ranking of "100 Best Movies of the 21st Century."

Home media

Universal Studios Home Video issued the film on VHS and DVD in the United States and Canada on April 9, 2002, featuring only limited special content. The DVD did not include chapter markers, a choice that Lynch opposed, stating it "demystifies" the viewing experience.

Nick Coccellato from Eccentric Cinema awarded the film a nine out of ten rating and gave the DVD an eight out of ten, remarking that the lack of bonus features "enhances the film’s mystery."

In Europe, Optimum Home Entertainment released Mulholland Drive on Blu-ray as part of its StudioCanal Collection on September 13, 2010.

The Criterion Collection has produced multiple editions of Mulholland Drive. In October 2015, they issued a 2K digital restoration on both Blu-ray and DVD formats, which included interviews and excerpts from Chris Rodley’s book Lynch on Lynch, along with additional supplementary material.<ref>This release followed Eraserhead as Lynch’s second title within Criterion’s catalog. In 2021, Mulholland Drive was among Criterion’s first wave of 4K Ultra HD releases.<ref>Although initially licensed from Focus Features and Universal Studios Home Entertainment, distribution rights were subsequently obtained by Criterion’s parent company Janus Films.<ref>

Awards and honors

At the 74th Academy Awards, David Lynch earned a nomination for Best Director. During the 59th Golden Globe Awards, the film secured four nominations: Best Picture (Drama), Best Director, Best Screenplay, and Best Original Score. It was honored as Best Picture by both the New York Film Critics Circle and the Online Film Critics Society. Additionally, Mary Sweeney received the BAFTA Award for Best Editing in recognition of her editing work on the film.

Accolades for Mulholland Drive

Award	Category	Recipient	Result
AFI Awards	Composer of the Year	Angelo Badalamenti	Template:Nom
César Awards	Best Foreign Film	David Lynch	Template:Won
ALMA Awards	Outstanding Actress in a Motion Picture	Laura Harring	Template:Won
Chicago Film Critics Awards	Best Actress	Naomi Watts	Template:Won
Independent Spirit Awards	Best Cinematography	Peter Deming	Template:Won
Los Angeles Film Critics Association	Best Director	David Lynch	Template:Won
National Society of Film Critics	Best Actress	Naomi Watts	Template:Won

See also

• List of films featuring tiny characters

External links

• Mulholland Drive on LynchNet.com – features interviews, press materials, and film excerpts
• Lost on Mulholland Drive – detailed critique and comprehensive resource hub