Lost Highway - as it sounds, David Lynch film painting in the form of film noir - as I watch it

Like many Lynch films the start is strange, seems different, almost like it is not a motion picture. But works. Here the music is frenetic but sequenced in a way that matches that frenetic but consistent erratic camera’s direction down a high-quality film highway - down the center. Then, we fade to black - and I assume we’ve entered the lost highway. It’s certainly filmed dark. I wonder if the actors and others appreciate how each frame whispers oil painting with Lynch’s cinematography. I know think of how these actors in some ways have no idea what’s going on - there must be an element of faith as Bill Pullman sucks a cigarette and a cryptic voice-gram is parlayed over old-school speaker system of a condo. This film kicks off with such a message that someone is dead. Then, Pullman seems unsettled and looks outside. The actor - and the character seems to have no clue what is going on. Pullman always has this unique “huh” expression to his face. Like every other Lynch film, he is the protagonist. This is key to unlock the meaning of each film. We know now this because there’s a brief scene where Pullman puts away his saxophone, an instrument Lynch played.

I fell asleep watching this film, last night (now in subsequent day). I’ve got no idea what’s going on here - except that the protagonist (Pullman) is having an out of body experience. Where he’s someone else and out of death row. I imagine this might be a dream, and in this dream - he abates truth again. He is on death row for murdering his wife and maybe another but has no working memory of it. To me, he’s a man with deep psycho-somatic issues and this film is a painting labyrinth episode into his twisted mind scape as he, we try to unravel reality.