So prominent is the problem of whether and how to explain Mulholland Drive, that nearly any attempt to interpret the film ends up using the film to debate interpretation.
Lynch is interested not only in story, but in the material aspects of film and their effect on the viewer; in sound, space, and time, and in what happens when these aspects of the cinematic experience assert their materiality rather than subsuming themselves to realism.
David Lynch uses diegetic music in unsettling, absurd ways, amplifying horror by usurping it.
