Nada Mucho

The Top Ten Feature-Length Films of David Lynch

Posted by January 25th, 2025 No Comments »

David Lynch is Dead, Long Live David Lynch

What I admired most about David Lynch, the recently departed director most famous for his Twin Peaks television series, was his refusal to explain the intent or meaning behind his work. He wasn’t just a master craftsman creating complex, challenging and beautiful films—he was a man of principle. Back in the heyday of DVDs, he famously refused to include chapter stops, scene titles, or special features with interviews. Why? Because he wanted viewers to experience his films in a theater, process them, discuss them, and then watch them again. Home viewing was acceptable but watching on a phone? Pure blasphemy.

With just 10 feature-length films, David Lynch has earned his crown as the king of rewatchable, mind-bending cinema. Factor in his brilliant television runs and avant-garde short films, and you’ve got a body of work that can intrigue, entertain, and mesmerize you for decades. So, where to start? While I believe Twin Peaks: The Return (2017) is his magnum opus and deserves to be at the top of this list, it isn’t. Why? Because this is The Top 10 Feature-Length Films of David Lynch.

10. Dune (1984) 

Even the best directors have a film that sits at the bottom of their list. For David Lynch, that film is Dune—if only because the director himself hated the finished product. The extended TV cut even credited Alan Smithee as the director, and that about says it all. (If you know, you know. If you don’t—find out.)

As a fan of science fiction long before becoming a fan of David Lynch, Dune was the first film I saw from him. It was sometime in the mid-’90s, and I watched it on VHS. As a sci-fi movie, it was entertaining enough, but it left me wanting to rewatch better films in the genre—like the swashbuckling Star Wars trilogy or the more cerebral Star Trek movies. Still, Kirk or Luke’s journeys were never quite as strange as Paul Atreides’.

Some parts stuck with me, though. Paul’s hand in that creepy box? It gave me the shivers. Baron Harkonnen, a predatory monster lusting after underage boys? Disturbing. And Sting from The Police in a codpiece? Even for a teenager who loved weird things, this was too weird.

Little did I know that the director of Dune would later command hours of my adult life with his strange and beautiful films—ones I’d spend countless hours viewing, pondering, and discussing. Just not this one.

If you want to skip Dune and watch the Dennis Villenvue versions instead I won’t fault you and David wouldn’t either.

9. Lost Highway (1997)

David Lynch never seemed like he was trying to be cool—he just tried to be himself, which, most of the time, was cool. But Lost Highway might be one of the rare instances where Lynch was actually trying to be cool, and it shows.

Most of his films’ music comes from longtime collaborator Angelo Badalamenti, and while Badalamenti composed the score here, we spend much of the film listening to the soundtrack instead. Tracks from Nine Inch Nails, The Smashing Pumpkins, Marilyn Manson, Rammstein, David Bowie, and Lou Reed dominate the audio. The result feels less like the work of a seasoned auteur and more like a try-hard young director in the mid-’90s, using trendy music to appeal to “the kids.”

Another knock against Lost Highway is its cast, particularly the actors who seem unaware they’re in a David Lynch film. Bill Pullman, Patricia Arquette, and Balthazar Getty play their roles like they’re in an episode of Silk Stalkings on CBS Crimetime After Primetime in 1993. The exception is Robert Blake, who delivers a genuinely chilling performance.

That said, the visuals remain mesmerizing, and every time I revisit the film, I laugh at Robert Loggia’s tailgating scene and make a mental note to pull the same stunt next time someone drives too close to me.

If you want to skip Lost Highway due to an aversion to glass coffee tables, I won’t fault you—and David probably wouldn’t either. But if you do, make sure to check out the furniture he designed instead. You can find it at The City of Absurdity – the mysterious world of David Lynch

8. Wild At Heart (1990)

“SAILOR!” Sometimes I hear Laura Dern scream this in my sleep, and it really freaks me out. Wild at Heart  is a Wizard of Oz fever dream featuring some of the most over-the-top performances in the history of film. David Lynch lets Nicolas Cage go “full Cage,” supported by a stellar cast that includes Laura Dern, Willem Dafoe, Crispin Glover, Diane Ladd, Isabella Rossellini, and, of course, Harry Dean Stanton.

This film feels like Lynch finally letting loose and having fun after four “serious” films, and it shows in its visual panache and dark humor. It’s also one of the best road trip films ever—at least until the next film on our list.

If you’re thinking of skipping Wild at Heart because “Nic Cage going full Cage” isn’t your thing, might I suggest this video essay: In Defense of Nicolas Cage.

7. The Straight Story (1999)

Two years after Lost Highway (1997), Lynch gave us a palate cleanser.

The Straight Story  is an outlier in the director’s filmography. Released by Walt Disney Pictures, it’s a straightforward tale about Alvin Straight’s journey across Iowa and Wisconsin on a riding lawn mower. No fugue states, no Nine Inch Nails, and no gruesome deaths—just the beautiful music of Angelo Badalamenti, breathtaking American heartland cinematography, and an earnest performance by Richard Farnsworth that earned him an Oscar nomination.

If you’re tempted to skip The Straight Story because it’s the least “Lynchian” of Lynch’s films—don’t. This movie is a crucial milestone in the career of a director often labeled an absurdist. His least absurd film proves he was always much more than that.

6. Eraserhead (1977)

Let’s get this out of the way—this is my list, but you have every right to disagree with the placement of David Lynch’s first film at #6. Sure, this arthouse powerhouse changed independent film forever, and it probably should be higher. But it’s not, and for one simple personal reason: it’s exhausting.

I’m overwhelmed by this stark black-and-white visual masterpiece, which feels like it was crafted over centuries. The dread and introspection it induces have left me debilitated for days after watching it. While my friends would laugh at the dinner scene or say, “Dude, that mutant child thing is gross!” I was transported into the mind of Henry Spencer. I couldn’t throw out such trite, obvious commentary because Jack Nance was Henry Spencer, and Henry Spencer was me. I was living the wonder and horror of becoming an adult.

Upon my first viewing, when the lady in the radiator appears and starts singing, my brain short-circuited as I realized the Pixies song was a cover from this film. Eraserhead is so impactful that I can only manage to watch it once a decade. My third viewing is set for 2028—wish me luck.

If you’re thinking of skipping Eraserhead (1977) because it’s nearly 50 years old and in black and white—don’t. Every film fan needs to experience this stark masterpiece at least once.

5. Inland Empire (2006)

My wife and I had steeped ourselves in David Lynch’s films for four years leading up to Inland Empire (2006). When it finally hit theaters, we were there opening night at the Neptune Theatre in Seattle’s very Lynchian U-District neighborhood. Sitting in the balcony on hard wooden chairs for 180 minutes was a challenge, but not as challenging as watching our favorite director fall from grace.

His previous film had been a masterpiece we’d viewed at least 20 times, deciphering and arguing about every cryptic scene. But this—his latest and ultimately last feature-length film about “a woman in trouble”—was indecipherable upon that first viewing. What the fuck were those life-sized rabbits? How many people is Laura Dern playing? Is that Beck’s “Black Tambourine” over the credits as prostitutes dance awkwardly? It was too much. Lynch had out-Lynched himself, and it broke our brains.

We didn’t even attempt to watch Inland Empire at home until nearly a decade later. When we finally did, we kept falling asleep. After multiple tries, I eventually made it through a second viewing. And while it’s still difficult to decipher, I was captivated by Laura Dern’s career-defining performance. Her role embodies everything I believe Lynch had been trying to say about the city he loved and cherished.

Inland Empire is his love letter to Los Angeles. And though I still don’t understand half of what’s happening, I relish repeated viewings and the endless discussions they inspire.

If you’re thinking of skipping Inland Empire because it’s a three-hour film—don’t.

4. Twin Peaks Fire Walk With Me (1992)

Fire Walk with Me is an enigma. It’s a standalone film, but it also serves as an interlude and flashback to the Twin Peaks television series. If you haven’t seen Episodes 1–15 (Season 1 and the first 7 episodes of Season 2), STOP. Do not pass go. Go catch up now (streaming on Paramount+ or as always is best on BluRay). I’ll be here when you get back…

Ok, now that you’re caught up, you can watch The Last Seven Days of Laura Palmer in Fire Walk with Me. But beware—Donna is now played by Moira Kelly because Lara Flynn Boyle didn’t reprise her role.

It must have been thrilling to be a fan watching Twin Peaks weekly on ABC, only to get a theatrical prequel a little over a year after the series ended. This prequel fully embraced its R rating, transitioning the story from television to film history with some of the darkest depictions of “a woman in trouble” ever put on screen. The film’s sights and sounds, though much darker in tone, showcase Lynch at his best when tackling deeply disturbing subject matter.

If you’re thinking of skipping Fire Walk with Me because you’re confused about the viewing order—don’t. I explained it above, but I’ll break it down further to help.

David Lynch directed the first and third installments of the series—the “Pilot” and Zen, or the Skill to Catch a Killer. He also directed the first two episodes of Season 2 (May the Giant Be with You and Coma), and finally, the episode Lonely Souls, which reveals Laura’s killer. As you listen to Julee Cruise’s haunting “The World Spins” over the credits of that episode, prepare yourself—because next comes Fire Walk with Me.

3. The Elephant Man (1980)

Working primarily with his friend and muse Jack Nance on his first film, David Lynch proved himself to be an arthouse guerrilla filmmaker, thriving in the industrial wasteland of Los Angeles alongside his crew of friends. But for his second film, could he work with esteemed actors like Anthony Hopkins, John Hurt, and Anne Bancroft in a more studio-oriented setting? Absolutely.

The stark black-and-white visuals that made Eraserhead so striking return in The Elephant Man, but with a more traditional approach. Instead of the chaotic sounds of his debut, Lynch worked with veteran composer John Morris, whose score earned both Grammy and Oscar nominations. Add in phenomenal performances from the aforementioned actors, and you’ve got a brilliant sophomore effort—a pivotal step away from the absurd at just the right moment in Lynch’s career.

The Elephant Man was nominated for eight Academy Awards, including Best Director.If you’re thinking of skipping The Elephant Man because it’s a black-and-white film about a disfigured man—don’t be an ableist. It’s okay to suffer alongside John Merrick and discover the beauty of human connection through the lens of one of cinema’s greatest directors.

2. Blue Velvet (1986)

With his first two films, David Lynch had perfected his visuals, but it wasn’t until his fourth film that the sounds finally matched the sights in glorious harmony. Angelo Badalamenti’s score for Blue Velvet  was the missing piece that elevated Lynch from a bizarre filmmaker to a master of the bizarre.

The music is so integral to the story that the main title theme, Blue Velvet: Main Title Theme (From “Blue Velvet”), signals to us that this may be Lynch’s homage to Alfred Hitchcock and Badalamenti’s ode to Bernard Herrmann. Through these sound clues, we’re clued in on the accessibility of this film. It’s linear and cogent yet deeply unsettling and frightening.

What happens behind the veneer of a perfect small town in America? Are there Frank Booths lurking in every corner, behind the veil of civility? Probably. And maybe, just maybe, the most frightening thing of all is that we, the viewers, might actually be the Frank Booths in the stories of our own lives.

The excellent cast features Isabella Rossellini as Dorothy Vallens and Dennis Hopper as Frank Booth, both delivering career-defining performances. Add in Kyle MacLachlan and Laura Dern, hinting at the greatness they would bring to future Lynch projects, and you have a perfect storm of acting brilliance.

Blue Velvet is a film you can watch with just about anyone, and they’ll have to admit it’s beautiful, entertaining, unnerving, and bizarre. Very few films manage this formula, but Blue Velvet delivers—and so does our number one film on this list.

If you’re tempted to skip Blue Velvet because you’ve seen it at least 10 times and “get it,” I don’t blame you. But give it one more go—this time, alone, with your phone powered off. It might just return you to that sense of wonder you’ve been craving.  

1. Mulholland Dr. (2001)

Not only is Mulholland Dr. the number one film on this list of the Ten Feature-Length Films of David Lynch, but it’s also #9 on the only list that really matters: the BFI Sight and Sound Top 100. And mark my words—it will supplant the top spot in 2032 (the list is voted on every eight years). Let’s be real: there’s no way Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles stays at #1 in eight years.

Featuring career-defining performances from Naomi Watts and Laura Harring, Lynch’s second feature-length study of “a woman in trouble” wouldn’t be his last—but it’s his best. The performances are flawless, Angelo Badalamenti’s score is his finest, and the soundtrack is a perfect ode to Hollywood. Lynch earned a Best Director nomination for this film—his third and final nod from the Academy.

Mulholland Dr. isn’t just my favorite David Lynch film; it’s my favorite film of all time to ponder, dissect, and discuss. My wife and I have watched it over 30 times, and with each viewing, we feel a little more confident in our interpretations. I believe this is the legacy David Lynch always cared about: knowing there are people like us who view his works over and over, interpreting the art and growing intellectually and spiritually because of it. So, for our yearly film challenge, we’ll once again be visiting the world of David Lynch. Here’s a guide if you want to join along, starting Sunday, January 26 David Lynch Weekly Challenge. (Oh shit, I just realized I have to watch Eraserhead sooner than I thought. Wish me luck.)


Leave a Reply

Your email address will not be published. Required fields are marked *

Copyright © 2025 Nada Mucho