Drive lesbian mulholland

In a quick but disorienting visual exchange at the end of David Lynch's Mulholland Drive , two unacquainted characters, Dan and Diane, encounter each other at a diner called Winkie's. Already a part of the queer film canon because a lesbian relationship drives Mulholland 's plot, my trans reading adds a new perspective to the growing literature on queer spectatorship. In this essay, I demonstrate usages of trans male practices that connect new phenomenological links between embodiment and cinematic experience. My primary concern is to explore how a cinematic body looks , thereby bridging a trans viewer to cinema. Dan and Diane are waiting in Winkie's for me to see them and recognize them, just as they briefly recognize each other.

Global Queer Cinema is a collaborative research project engaged in investigating queer film cultures from a global perspective and analysing world cinema from a queer point of view. You can read more about it here. Rita is amnesiac, hiding desperately in the apartment in order to escape some terrible, possibly fatal, trouble following a car crash on Mulholland Drive. Rita is a voluptuous femme fatale in both physical and psychic danger. Her bewildered beauty and languorous stage presence give a false impression of depth. Doubling is used to effect lesbian desire. The two women often resemble each other or other characters.

Sign in. Watch now. After a bizarre encounter at a party, a jazz saxophonist is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a young mechanic and begins leading a new life.

Mulholland Drive, the film directed by David Lynch, is a neo-noir thriller that centers the concept of queering the femme fatale. When the film debuted in , queerness and especially femme-for-femme queerness had reached peak fascination in mainstream straight culture. The figure of the femme fatale is itself a focus of fascination, no matter our gender or orientation. Is Los Angeles itself a femme fatale?