“Lost Highway” burst to life as a way of dealing with both Lynch’s feelings about the city and the direction of American society, but also as a complete deconstruction of his own body of work. The 90s were an important and groundbreaking time for Lynch, providing him with the lauded crossover successes of “Wild at Heart” and the first, sensational season of cultural phenomenon “Twin Peaks,” and then the unfortunate financial failures of the show’s second season and its theatrical film, “Twin Peaks: Fire Walk with Me.”īy the latter part of the decade, he was clearly feeling angry and disenfranchised by the Hollywood system that he’d found himself trapped in, and was becoming increasingly obsessed with the city’s dark sides and barely contained evil energies. “Lost Highway” – 1997 – Showing Friday, July 8th at 7:00pm & Saturday, July 9th at 2:00pm I knew I had to jump at the chance to break down not only these three remarkable works, 1997’s “Lost Highway,” 2001’s “Mulholland Drive,” and 2006’s “Inland Empire,” but also what makes them so consistently relevant and even urgent in 2022.
So, of course, when I saw that the Oklahoma City Museum of Art’s Noble Theater was set to host a weekend-long retrospective of three of his most accomplished, defining, and yes, outright weird films, what they are billing as his “Los Angeles Trilogy,” I was ecstatic. Music and Film with Brett Fieldcamp By True Sky Credit Union
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