<P> Philosopher and film theorist Robert Sinnerbrink similarly notes that the images following Diane's apparent suicide undermine the "dream and reality" interpretation . After Diane shoots herself, the bed is consumed with smoke, and Betty and Rita are shown beaming at each other, after which a woman in the Club Silencio balcony whispers "Silencio" as the screen fades to black . Sinnerbrink writes that the "concluding images float in an indeterminate zone between fantasy and reality, which is perhaps the genuinely metaphysical dimension of the cinematic image", also noting that it might be that the "last sequence comprises the fantasy images of Diane's dying consciousness, concluding with the real moment of her death: the final Silencio". Referring to the same sequence, film theorist Andrew Hageman notes that "the ninety - second coda that follows Betty / Diane's suicide is a cinematic space that persists after the curtain has dropped on her living consciousness, and this persistent space is the very theatre where the illusion of illusion is continually unmasked". </P> <P> Film theorist David Roche writes that Lynch films do not simply tell detective stories, but rather force the audience into the role of becoming detectives themselves to make sense of the narratives, and that Mulholland Drive, like other Lynch films, frustrates "the spectator's need for a rational diegesis by playing on the spectator's mistake that narration is synonymous with diegesis". In Lynch's films, the spectator is always "one step behind narration" and thus "narration prevails over diegesis". Roche also notes that there are multiple mysteries in the film that ultimately go unanswered by the characters who meet dead ends, like Betty and Rita, or give in to pressures as Adam does . Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries . Roche concludes that Mulholland Drive is a mystery film not because it allows the audience to view the solution to a question, but the film itself is a mystery that is held together "by the spectator - detective's desire to make sense" of it . </P> <P> Regardless of the proliferation of theories, critics note that no explanation satisfies all of the loose ends and questions that arise from the film . Stephen Holden of The New York Times writes, "Mulholland Drive has little to do with any single character's love life or professional ambition . The movie is an ever - deepening reflection on the allure of Hollywood and on the multiple role - playing and self - invention that the movie - going experience promises...What greater power is there than the power to enter and to program the dream life of the culture?" J. Hoberman from The Village Voice echoes this sentiment by calling it a "poisonous valentine to Hollywood". </P> <P> Mulholland Drive has been compared with Billy Wilder's film noir classic Sunset Boulevard (1950), another tale about broken dreams in Hollywood, and early in the film Rita is shown crossing Sunset Boulevard at night . Apart from both titles being named after iconic Los Angeles streets, Mulholland Drive is "Lynch's unique account of what held Wilder's attention too: human putrefaction (a term Lynch used several times during his press conference at the New York Film Festival 2001) in a city of lethal illusions". The title of the film is a reference to iconic Hollywood culture . David Lynch lives near Mulholland Drive, and stated in an interview, "At night, you ride on the top of the world . In the daytime you ride on top of the world, too, but it's mysterious, and there's a hair of fear because it goes into remote areas . You feel the history of Hollywood in that road ." Watts also had experience with the road before her career was established: "I remember driving along the street many times sobbing my heart out in my car, going,' What am I doing here?"' </P>

I dreamt i was in a hollywood movie