And we're back. We wake up this podcast to discover that we are in love with Kumail Nanjiani in THE BIG SICK. Unfortunately Jairo of THE TRUE BROMANCE FILM PODCAST is also with us at his weepiest as he raves about this new film, while expressing some displeasure with our two older film selections on love stories on the external influences surrounding our onscreen couples. In AWAY WE GO Maya Rudolph and John Krasinski travel across country to find the perfect place and the perfect people to raise their unborn child with, while in I LOVE YOU, MAN Rashida Jones is happy with her upcoming marriage to Paul Rudd but has slight concerns about the groomsmen or lack thereof. We also get a bit meta as we talk about the outside influences of film discussion and how it impacts our own experiences with this medium, which leads to the creation of a brand new podcast: MARK AS PLAYED.
MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...