Five reasons why "Mulholland Drive" is Postmodern

1. Ideas come separately, and David Lynch searches for their correct order. In the film "Mulholland Drive" the plot moves along the ring composition, ending there, where it began, without having a beginning or an end. The plot breaks up into two different stories of one heroine.

2. The film contains two storylines that develop independently and almost do not overlap. During the film, small additional scenarios constantly appear from nowhere and also disappear. They do not carry any information for the main storylines: the story of the killer-loser, which accidentally kills 4 people at once and the story of a detective whose nightmares become a reality.

However, at the end of "Mulholland Drive", it is obvious that this film have not only two, but three storylines. First two stories end completely unexpectedly and irrationally, but in a new story, previous characters get new roles, names, the storylines of the past are being crossed out and everything starts all over again.

3. There is one simple plot - an innocent girl gets to know the outside world, trying to comprehend what is happening around her. But this action is realized not in the traditional way of plot structure, but in the irrational. This means that the conflict does not develop, it aggravates, it is not moving forward, it is moving widthways. In the end, instead of learning the world around, the main heroine learns herself (self-understanding)

4. David Lynch made his own fantastic reality from the film.

Film "Mulholland Drive" follows the irrational and surreal logic.

This allows us to remove questions about the plot holes, twists and understatements in this film, reducing it to the fact that all of this are dreams, fantasies and illusions of the main character. That is the reason why on the screen we see a lot of unusual and frightening characters: sudden people who were shrunk down to the size of the finger or a monster around the corner.

5. David Lynch mixed several genres in the film. The beginning of the film is a detective, which gradually becomes a comedy. The adventures of Betty and Rita, who portray themselves as detectives, are showed like an ironic detective. The tense scene at the meeting table, when the young director Adam Kesher first meets with the mafia, causes the viewer to smirk and to doubt about what is happening.