“Mulholland Drive” Film Review: Greatest Film of the 21st Century?
I know, I know, I am the last person on Earth to watch “Mulholland Drive.” This trippy 2001 mystery-drama has often been hailed as director David Lynch’s magnum opus. It has also been a top contender for the title of greatest film of the 21st century among many critics and publications. In 2025, The New York Times listed “Mulholland Drive” as the second-best film of the 21st century. In the same year, Rolling Stone, among many other publications, placed the film within the top 10 of their “100 Best Movies of the 21st Century” list.
After seeing the film for myself, it is clear to me why it has received so much praise. It is innovative, original, and truly groundbreaking. Without revealing too much about the film, it is — to put it simply — a film about Hollywood. Naomi Watts stars as an aspiring actress who moves to Hollywood and meets an amnesiac woman played by Laura Harring, with much of the film focused on uncovering Harring’s character’s identity. Both actresses deliver career-defining performances, and the supporting cast is excellent.
I was pleasantly surprised by the amount of parallels there were to the 1950 noir film “Sunset Boulevard.” Coincidentally, I rewatched “Sunset Boulevard” a week before I watched “Mulholland Drive,” unbeknownst about the connection. Apart from showing the ‘Sunset Blvd’ road sign within the first 10 minutes of the film, we can also see Norma Desmond’s iconic car outside the film studio. This film feels so Hollywood with its dramatic dialogue, dreamlike visuals and glamorous shots of the landscape and leading actors. This is how Hollywood should feel, but as the film progresses, we learn that not everything is as it seems.
The soundtrack is also incredible, with the score being done by longtime Lynch collaborator Angelo Badalamenti. The ominous and dark tone of the score maintains the suspense and mystery of the story. Spanish singer Rebekah Del Rio delivers an emotional a cappella performance in the third act of the film. While our main characters watch, the weight of the events hanging over them prompts tears to both.
After watching the film, I was intrigued to learn that it was originally filmed and intended to be a television series pilot. However, the pilot was not picked up, and it wasn’t until a few years later that it was revisited to become a feature film. I can totally see a world where this story exists as a television series. It’s the kind of story you don’t want to end; however, Lynch ends it in a unique and surrealist way that is undeniably effective.
One of the best aspects of the film is that there is no clear explanation of the events or why they are occurring. This is a common theme in Lynch’s work. He encourages the viewer to interpret the film for themselves by fully immersing in the story, aesthetic and sounds. I think that is part of why people are so keen to rewatch and the film has stood the test of time. Like almost all of Lynch’s projects, “Mulholland Drive” is haunting and sticks with you long after the credits roll. One of Lynch’s other critically acclaimed works, the television show “Twin Peaks” includes a scene in which Monica Bellucci says something that I think perfectly describes the film: “We are like the dreamer, who dreams, then lives inside the dream. But who is the dreamer?”