Art References in Mulholland Dr.

David Lynch, as one of the key figures in surrealist cinema, has constructed his artistic background by drawing from both classical and contemporary movements. While studying at the Pennsylvania Academy of Fine Arts, Lynch was heavily engaged in visual arts, such as painting and sculpture. During this early period, expressionist and abstract art approaches became crucial influences that shaped Lynch’s cinematic language. Dark, dreamlike images and the exploration of the subconscious are present in both his visual arts and films.

“Mulholland Dr.” (2001) stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper.

In this context, it is clear that the artistic references in Lynch’s masterpiece “Mulholland Dr.” deserve a detailed analysis.

The Club Silencio scene. According to Lynch, we, the people of the 21st century, live in a postmodern world of representations. Life itself has become intertwined with cinema, music, and visual art, transforming into our reality. Our lifelong struggle is to control those representations, that false reality. Simultaneously, we stand against the world and our own lives, our own truth, as if we were a successful actor or director controlling the narrative. The self is split, just like Rita and Betty, as both a representation and the controller of representation.

The design of Silencio also references Edward Hopper’s “Two on the Aisle” (1927). We see the extent of Hopper’s influence on Lynch in subsequent scenes, but first, let’s examine what elements have carried over from Hopper’s paintings into Lynch’s films:

• Dimly lit images and muted colors
• Somber American realism
• Stylization of refined images
• Moving beyond realistic presentation to heightened expressions of mental states
• Focus on the fundamentals of landscape narrative
• Mise-en-scène stripped of unnecessary details with minimalist decor

“No hay banda”—there is no band; this is not a concert = “This is not a pipe” (René Magritte). Silencio heightens the audience’s awareness, showcasing the qualities of postmodern cinema: everything we shouldn’t see or hear in a performance is laid bare on this stage. Everything is fake, announced by a presenter who is supposed to cover it all—no band, all playback, spotlights, the relativity of truth, the singer who faints and is dragged offstage. The off-stage world intrudes onto the stage.

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In Diane’s apartment, the surprisingly sparse personal belongings give it the character of a hotel room or rented house. Here, two references to Edward Hopper’s paintings are evident. One is “Morning Sun,” and its nightmarish version. It symbolizes the mediation between inner reality and the outside world. It represents the perceptual process after waking up—when we open our eyes to reality after a dream. Diane’s awakening from her dream. This image also appears as a poster in the film’s restored Criterion version.

The other is Hopper’s 1931 “Hotel Room,” which strongly conveys his preoccupation with loneliness, much like Diane.

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The painting on the wall is the famous 16th-century work “Beatrice Cenci” by Guido Reni. Beatrice, a Roman noblewoman, was a victim of her father’s incestuous advances (some readings suggest Betty may have experienced something similar, given we never hear about her parents). Beatrice subsequently hired two hitmen to murder her father and made it look like an accident, becoming a symbol of lost innocence and inspiring numerous artworks, books, plays, and even films that capture her story. This symbol merges with Betty for a third time.

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Now, let’s examine the unsettling nature of both “Mulholland Dr.” and “Twin Peaks.” The inspiration comes from Francis Bacon’s “Seated Figure.” The work captures the artist’s striking and distorted depictions of the human form, expressing inner turmoil and emotional tension. Typically using red, brown, and dark tones, the painting gives viewers a sense of the figure’s disturbing and uneasy nature. Bacon highlights deformation and motion, emphasizing the fragility of human existence, reflecting the artist’s interest in existential anxiety and decay—a sentiment that needs no further explanation in Lynch’s case.

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