SOURCE: Warner, Marina. “Voodoo Road.” Sight and Sound 7, no. 8 (August 1997): 6, 8, 10.

In the following review, Warner examines the doppelgänger motif of Lost Highway as a metaphor for identity crisis in the modern world, but concludes that Lynch's treatment of this theme is ultimately lacking in substance.

The plot of Lost Highway binds time's arrow into time's loop, forcing Euclidian space into Einsteinian curves where events lapse and pulse at different rates and everything might return eternally. Its first and last shots are the same—the yellow markings of a straight desert road familiar from a thousand movies scrolling down as the camera speeds along low on the ground to the pounding soundtrack. But this linearity is all illusion, almost buoyantly ironic, for you can enter the story at any point and the straight road you're travelling down will unaccountably turn back on itself and bring you back to...