I wish so much that this wasn't written the heavy handed way it was.
The Color of Pomegranates 1969
Notch 17 in the poetry-sans-narrative-tension-vaut-rien manifesto
Mulholland Drive 2001
devil’s advocate: is there inherent merit in the cinematic replication of dreams? is there a version of this movie in which we are made to care for Diane and her need to create this alternate reality instead of being hit over the head with the surreal bat? if the only time I was actually made to care about the characters was Naomi’s audition scene then that has gotta be saying something...?