David Lynch puts to us out of box

Lynch mixes " Twin Peaks " and " Lost Highway ". But its " blue box " reveals the state of the festival at three days of the end.

REPORT
LUC HONOUR, in Cannes

The genesis of new film of David Lynch is complicated " Mulholland Drive ", of the name of a long mythical artery of Los Angeles, was in the beginning a project in "
Twin Peaks ", for a tele series.
The pilot was turned, but the American company of the small screen refused it. Lynch rewrote, then, the scenario and carried on the large fabric its " Mulholland Drive
" with the assistance in particular of the French of Channel +.
The tele origin feels. There is a perfume of " Barfly and the vampires ", serial cathodic with success, in " Mulholland Drive ", but transformed into odor of faded flowers,
one is not remade, that Lynch bought with the inalterable shop " the baby of Rosemary " held by Polanski.
A young actress beginner (Naomi Watts), nunuche like a pink node in the hair of Meg Ryan, arrives at Hollywood to make screen tests there. Placed in her aunt on a
journey, it discovers there a femme fatale (Laura Helena Harring) who hides there, become amnesic after a terrible car accident. Deprived of memory, it takes the
personality of Rita Hayworth.
Damoiselles, attracted physically one by the other, will go up the course which led Rita to his evil and will fall on a female corpse.
The immense talent of Lynch obliges us to become the detectives of his history and our own impulses
During this time, a young director with glasses, serious as a pope (Lynch would caricature it Wim Wenders?), sees itself imposing an actress by strange mafiosos.
In a setting in scene at the same time slipping and heavy, Lynch fascine more especially as its accessory musician, Badalamenti, are with the keyboards.
Scenes remain unexplained and of the abandoned characters. As these two friends of which one dreamed that he died under the eyes of the other in a restaurant, there
takes along and dies of a heart attack by seeing a man disguised in gorilla. There is also a splendid sequence in a theatre where a Mr Loyal explains that all is only
illusion and particularly in this film which we are seeing.

The immense talent of Lynch obliges us to become the detectives of his history and our own impulses.
You can interpret my film as you want it, declares it. The larger the abstraction of a history is, the more interpretations are vast. I offer a closed universe. Almost "
closed " because there are escapes in the form of " three small points " a little everywhere... To give the key of my film would be to scorn the public which must, after
the vision, to continue the setting in scene for itself.
One adheres to this speech. It is the force of film. Like this mysterious blue box, whose leave some heroes film suddenly become tiny, to which one will perversely
dream a long time - but Buñuel had already used a a little similar box in " Beautiful of Day ".
One adheres less when Lynch repeats itself and rejoue, to the end, the partition of " Lost Highway " with his characters which exchanges the roles or that of " Twin
Peaks " with its deus ex machina, a dwarf who must be the only one with knowing which machination is woven.
A taste of already considering abyss " Mulholland Drive ", which is also a reflexion on will have that exerts Hollywood in spite of its pretences and its cruelty. But one
bites in film with plaisir.·