Dwight (Patrick Fugit) prowls the streets after dark. He searches each night for the lonely and forlorn, looking for people who won't be missed. Dwight takes no joy in this, but he needs their blood. Without fresh human blood, his fragile young brother Thomas cannot survive. Each death takes a larger toll, the burden of his crimes weighing heavier each time, threatening to crack his spirit. But Thomas (Owen Campbell) and his sister Jessie (Ingrid Sophie Schram) are all the family Dwight has left, and as a fiercely private and close-knit family unit, they depend on him and the rituals they've learned in order to keep their secret. But while Dwight yearns for another life, Jessie needs them to stay together. And always the boy must feed.
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...