And if we admit to some degree that we do in fact see through the protagonist's eyes, then to what extent does this help us to resolve our own conflicts and to what extent does it simply confuse us all the more? Diane is a Hollywood wannabe who fell in love with another aspiring starlet. We'll pretend to be someone else." Diane experiences the characters in reality and they become the characters she wants or prefers them to be in her dreams, the Ideal. The power of it does not just emanate from its eerie and mysterious atmosphere, its taste for conspiracy and intrigue, and its poignant love story which ends tragically in betrayal, murder and suicide. After doing this, I will present what I believe to be the chronological life story of the protagonist, which is obscured and hidden in the complex narration. Even though the other personas got rid of the first Camilla, they choose another Camilla-type of persona instead of the Betty persona to be the one that they believed could be a star. of retribution for the murder, since she is now free of the guilt and finally able to embrace both the Betty and the Rita personas in her dying The character of The Cowboy is then in the apartment of Diane Selwick. There are hints of the issue throughout the fantasy, but the most obvious one comes up when Betty is doing an audition with the lecherous actor named Woody. Both movies are somewhat hallucinatory experiences of two actresses coping with their careers and love lives, having both taken wrong – or odd – turns. But when she saw Camilla come to her from behind a tree, she was intrigued. As they proceed to do just that, Betty professes to actually love Rita for real. She has the final word, "Silencio," which simply means "silence" in Spanish. However, when she gets there she discovers the fugitive persona that other personas have just attempted Therefore, in a last ditch effort to resolve her distress, Diane inserts the innocent persona who feels hopeful and loved, into the mess of a world that her mind has become. That young woman died at the age of 22, at about a week from the day one year after David Lynch was born. A world of murder and mystery and intrigue. She gets revenge on Adam in her dream. The opening Jitterbug dance sequence, among other things, offers us a metaphor for her bubbly energetic persona at the beginning, while a group of dirty dishes falling and breaking near the end symbolize her final fallen, broken and unclean state. She wants to connect as deeply as possible to the glamorous Rita persona by making love to her. With this thought in mind, one could conclude that Diane is a representation of the I, if one uses the interpretation of S2 as the version of true reality, and Betty as the Ideal-I. The hill is almost like Mount Olympus to Diane, because the people who live on that hill are like gods in the movie business, and now the hated persona is heading up there to try to become one of them. And Diane's attempt to repress the reality of the past trauma, although understandable, was a complete failure. If you are willing to think of the main character in Mulholland Drive in this light, and envision her fantasy as a journey to determine the ultimate fate she will face after the fantasy is over, then you begin to understand the enormous trust Lynch puts in his audience. The next scene shows the dead woman mentioned earlier – now alive and looking exactly like Betty.

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