The end of Mulholland Drive is a good example to prove that cinema exists as a haunted body and organization of consciousness. It sutures the audience into the film by using character identification. Diane is a loser in her love story. She loves Camillar, and at the same time, she also lives under her wing because Camillar helped Diane out all her life and career. That makes the relationship more complicated. When Diane wakes up from her dream, she falls into guilty and extreme fears. Diane’s struggle in her mind simply reflects people’s conflicting thoughts about love and hate. With the camera eye, we as audience are also pending mental collapse. Moreover, Diane’s choice of suicide seems reasonable for us because every murder will make the same decision. Isn’t it possible that we are Diane at that moment, so that we can only relief by our death? The end of Mulholland Drive has created a primitive pleasure for the audience by irritating their sensory feelings. On the other hand, It evokes plenty feelings of confusion by using symbolism. Lastly, it has successfully sutured us into the film by using the camera and the soundtrack.
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