I am not so sure that I would say that Mulholland Drive is an alternative
realities story or a hyperreality story. Although the film does just present
them that way with each one being given the same epistemological value as
the other, the second story (the key) seems to provide the empirical version
of an experience that the first story dreams. The first story is almost a
Freudian dream version of the second. It seems to be a dream that tries to
censor the shameful details of the second by juxtapositions, substitutions
and such.
Ross
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