wait what why seriously where's the fair use hey guys as you can see most of my videos are copyright claims which is super annoying but at least you guys still get to see them not so from my analysis of Mulholland Drive for some reason it's banned in every country other than the United States which is funny because I don't even live in the United States so if you're in the US you can watch the original video here and if you're anywhere else without a VPN keep watching this video which is the exact same analysis except
I had to get rid of the offending part what did the studio deem to be the offending part this scene where the two women are kissing on the couch I find this so funny because I'd understand if it was violating Community Guidelines or something but it's not it's just that that scene is somehow more copyrighted than any other scene all right without further ado here's the video I watched Mulholland Drive eight years ago and couldn't shake the feeling ever since you know if being utterly confused yet completely fascinated by the characters as if I've known
the story in my entire life usually there's three acts you most things there's act 1 act 2 act 3 um and I don't really go by that when talking about Mulholland Drive I feel that most people tend to see most the film as a fantasy that takes place in Diane's Arwen's mind and the ending of the film as the reality and while that's certainly not untrue instead of the dichotomy between fantasy and reality I prefer to see the film as a dichotomy between fantasy and desire it sounds like a subtle difference but both fantasy and
desire are lenses through which we distort the objective reality which is actually inaccessible and is represented by the blue box the blue box opens up a void it is both the barrier between the worlds of fantasy and the worlds of desire and also the portal that connects the two worlds notice that during the fantasy portion of the film many scenes are devoted solely to developing minor characters but in the desire portion of the film every single scene has Camilla in it even when she's not physically there take this scene for example Camila or rather the
idea of Camila constantly intrudes upon the scene whether it be as a desire a masturbatory fantasy a phone call or as a photo Diane obviously wants Camila but she can't have her because Camila is already engaged to the director and a pleasure psychoanalyst Jacques Lacan states that unrequited desire is somewhat of a redundant term as desire by definition is unfulfilled because you can't want something that you already have we don't really want to get what we think that we want since we can never have everything at once we're constantly stuck in the world of desire
where our desire is constantly intrude upon our reality and colors it notice how the mug of coffee and explicably becomes a glass of bourbon or something and the row becomes an insurance there's also the piano ashtray on the table which has already been taken away in the previous scene in the worlds of desire there is no chronology as all the events instead of following a logical order seem to revolve around the object of desire it's not day or night it's kind of half night you know so basically it's this quagmire of repetition that can only
be escaped through fantasy did your girlfriend leave you for someone else make him a punching bag a literal punching bag feel bad for hiring a hitman to kill her it's okay he's such a klutz he probably messed it up anyway sad that she didn't get the lead part well the director was forced to choose someone else didn't like the taste in your mouth when you found out the love of your life it's gonna marry someone else you there's even an explanation for that actually the fantasy portion of the film unfolds like a classic mystery and
when she can piece together the puzzle it also plays with genre conventions of drama romance slapstick comedy thriller and even horror basically it's Hollywood the only thing we don't have in science fiction there's even a Western element because why not whereas the last part of the film is much more ambiguous just like life I think this is really quite innovative because when we think of fantasy or dream sequences we think of fog machines and surrealism of strange jump cuts and things that don't make sense but really this is closer to our experience of reality muddled
by desire things don't always make sense in life and we don't always know why people do what they do the version of reality that comes in a neat little package with all the loose ends tied up is a fantasy we constantly tell ourselves to make sense of the senseless reality cinema is the ultimate forever art it doesn't give you what you desire it tells you how to desire while Hollywood and fantasy is relieving us from the agony of desire there's a problem it's linear structure means that by definition there's an end point the end point
of any fantasy is obtaining the object of desire which simultaneously satisfies and destroys the fantasy right after Diane finally has sex with Camila they go to clubs he lends you which shatters the illusion of the fantasy and plunges Diane through reality right back into the frustrating and repetitive worlds of desire a pretty girl and weaker objective reality here is dark and inaccessible as represented by the void in the blue box it's finished you'll find this where I told you what's it open and pop culture as well as in psychology there's a persistent idea that you
need someone else to be complete you beat somehow theorized that this stems from the traumatic act of birth when the infant is separated from the mother it's time to say goodbye Betty which mathematically explained the creepy old couple in the beginning of the film Lacan states that in the mirror stage of an offense development the infant experiences a disorientating chasm when confronted with their reflection there is a contrast between the wholeness of their mirror image and their limited command of their motor control faculties now leave them feeling like the strains at body parts and for
the rest of their lives they strive to achieve this image of wholeness often by obtaining an object of desire so the cause of desire is not connected to the objects of desire but rather is stems from an inherent lack within the subject the desire for the other is the desire to fuse with the objects of desire to become whole but this is an impossible dream and this is the illusion that Club Silencio breaks Silencio Silencio if we take the image the singer the musician to be the object and the sound meaning the music the vocals
to be the beckoning voice of desire itself club Silencio shows us that the two are actually not related I think this is why suddenly Spanish and French are introduced to further drive home the idea that three different phonetic sounds can all refer to the same object no I but now there is no band orchestra in the club conc of songs ronzo the singer laments the loss of a lover but this loss is an illusion because one never has another person in the first place but saying goodbye to loved one can't be like saying goodbye to
a part of oneself because of this illusion of fusion there's seeming inseparability is an illusion and the desire lives on long after the objects of desire is destroyed which is precisely the lesson Diane comes to learn Mima cuts I have just before the moment of this supposed fusion I shouldn't do this anymore she decides to hire a hit man to kill Camila in the beginning of the film the creepy mafia guy called someone to tell him this the girl is still missing and she call someone else but nobody answers that someone else is actually Diane
as this red lampshade belongs in Diane's apartment it's such a quick detail that people often miss it upon first viewing obviously this convinced I an subconscious wish for Camila and to have somehow escaped but I also drives home the point that dead or alive the girl is always missing meaning that one always feels like something is missing what you want is not really to live with the mistress but to keep her as a distance as an object of desire about which you dream it can be hard to tell the difference between the other with a
capital o and though there was a small hole the latter is not quite a separate individual rather a projection of the subject unable to tame Camila Diane projects all her locks onto the image of Camila who is conveniently a blank slate to to amnesia and is less susceptible to Diane's molding her friend is Dianne Sawaya of course this murder solves nothing because the cause of desire is outside of the objects of desire the Hitman laughs because the key opens up nothing it solves nothing there is no solution for desire we must instead recognize that external
objects are unable to satisfy the desire because its cause is within us and we have to come to terms with desire as a permanent feature of the human condition at least that's my analysis since its complete in my mind nothing should be talked about more and it's a it's a very big shame when something is finished and then people want you to translate it back into words okay okay as always thank you for watching
