It’s very difficult to write a synopsis of Lost Highway, loaded as it is with an array of symbolism that’s impossible to represent as a coherent plot summary without spoilers, so I won’t even try.
Suffice to say, it’s archetypal David Lynch. It contains his usual array of striking images, inventive sound design and homage to classic movie genres, in this case Film Noir with a dash of horror. Patricia Arquette looks every inch the femme fatale of the golden age and the film hinges on her dual portrayal of innocent victim of jealous violence and heartless vamp. Bill Pullman perhaps lacks the intensity and charisma to pull off Lynch’s vision, but any shortfall in his performance is made up for by his skills behind the camera. Because of its reliance on a rich tapestry of symbolism rather than conventional narrative some will find Lost Highway utterly baffling, but it is always compelling and unique in the way that Lynch’s best films tend to be.
Love it or hate it, Lost Highway is always intriguing and bizarre.