Wild at Heart
The Straight Story
Lynch’s debut feature, still creepy after all these years: “a masterpiece of texture . . . an ingenious assemblage of damp, dust, rock, wood, hair, flesh, metal, ooze” (Village Voice).
BAMPFA Student Committee Pick
An ingenue recently arrived in Los Angeles (Naomi Watts) becomes involved with a raven-haired amnesiac beauty (Laura Harring) in Lynch’s Chandler-by-way-of-Borges postmodern noir, one of Sight & Sound’s “greatest films of all time.”
Nicholas Cage and Laura Dern are star-crossed lovers on the run from various maniacs, including Harry Dean Stanton, William Dafoe, and Dianne Ladd, in Lynch’s fantastical winner of Cannes’s Palme d’Or.
Lynch’s prequel to his cult television show Twin Peaks heads deeper into the woods of small-town Americana, a province of murder, perversity, and crap interior decorating. “Lynch’s masterpiece” (Village Voice).
Bill Pullman, Patricia Arquette, and Balthazar Getty flicker across the nocturnal highways and haunts of a nightmarish Los Angeles in Lynch’s audacious “twenty-first-century noir horror film,” as he and cowriter Barry Gifford dubbed it.
Kyle MacLachlan, Laura Dern, Isabella Rossellini, and Dennis Hopper inhabit a small-town America steeped in psychic dread. Thirty years later, Lynch's color-saturated noir is “still a hilarious, red-hot poker to the brain” (Guy Maddin).
Nicolas Cage and Laura Dern are star-crossed lovers on the run from various maniacs, including Harry Dean Stanton, William Dafoe, and Dianne Ladd, in Lynch’s fantastical winner of Cannes’s Palme d’Or.
An elderly man drives his lawn mower across the Midwest to see his ailing brother in Lynch’s atypically sweet-natured work, released by Walt Disney Pictures. “It may be my most experimental film,” Lynch claimed.
Hired to adapt Frank Herbert’s science fiction novel about interplanetary palace intrigues, Lynch came up with this legendarily baffling, dreamlike missive from the subconscious, featuring Kyle MacLachlan and a leather-clad Sting.
Lynch turns the Victorian-era true story of “the ugliest man alive” into a study of prejudice, voyeurism, and human dignity, aided by a remarkable performance from John Hurt.