Ostensbily, both Lost Highway and Mulholland Dr. are about a fractured human mind trying to coherently explain away its own madness, coping with the brutal murder a loved one in the City of Angels. Are strange conspiracies and supernatural forces betraying the central protagonist and ruining their lives? Or are these protagonists deluded, self-centered people trying to rationalize their own horrific behavior?
Neither film offers easy answers to these questions. Both are ambiguous and surreal, particularly in the way they pull the carpet out from underneath the audience with new and disturbing revelations about each film's star. Yet in spite of their similarities, Mulholland is the film that gets most of the credit and adulation, admittedly for good reason. But to an extent, it feels like David Lynch is a painter obsessed with the same subject now and he has never stopped trying to make Lost Highway ever since 1997.