“Just as the characters in Lynch’s films must endure the realization of their fantasies without respite, so must the spectator of these films. ” – TODD MCGOWAN http://ift.tt/1GJAUap

“In Lost Highway, Fred suspects that Renee’s previous life involved ..some secret … place of … obscene enjoyment. ..Fred, … sentenced to death for the murder … of Renee, … transforms into another person (Pete) in his prison cell.” – ..A bizarre shift from the dull … existence of the impotent husband … to the exciting and dangerous life of ..Pete who is seduced by the ..femme fatale reincarnation of Renee. ..This shift … represents Fred’s psychotic hallucination … of himself as a virile lover, … after the slaughter of his wife

– SLAVOJ ZIZEK http://ift.tt/1E8ZZKt

“The disturbance that Merrick’s body causes for our look renders the desire ..evident for the first time. At this point, we can no longer believe that we are neutral observers” – TODD MCGOWAN on the spectator’s desire which is a desire that becomes evident in watching David Lynch’s Elephant Man whose name is Merrick http://ift.tt/1bCJaSk

After Rita uses the key to open the blue box, the camera moves into the opening in the top of the box and is subsumed by the darkness inside. The film impels us to experience briefly the void that exists between fantasy and desire,

but we are quickly thrust into the world of desire, in which the woman who owns the apartment- Betty’s aunt in the fantasy-walks in; there is no trace of either Rita or Betty.

only by insisting on fantasy to the end can one arrive at the experience of silence.

– TODD MCGOWAN on Mulholland Drive