He made movies that no one else could’ve. He changed what the world, viewers and fellow filmmakers alike, thought was possible in cinematic storytelling. The greatest television show ever created sits on his resume, a label that would’ve applied even if it had only received a two-season run in the 90s, but was proven all-the-more accurate when he revisited it two-and-a-half decades later to gift audiences an unforgettable 18-episode achievement. There has never been an artist like David Lynch, and won’t be again. Anyone who has had the chance to explore his paintings, drawings and sculptures, too — which made a spectacular Australian showing at a dedicated exhibition at Brisbane’s Gallery of Modern Art in 2015, with the man himself in attendance — can’t shake them from their mind. Movies, TV, acting, animation, art, music, books, furniture, photography, advertising, music videos, transcendental meditation, comic strips, coffee, weather reports, cooking quinoa, gravity-defying hair: before his death on January 15, 2025, Lynch made an impact upon all of them.
“He was in touch with something the rest of us wish we could get to,” shared Kyle MacLachlan, Lynch’s Special Agent Dale Cooper in Twin Peaks, Paul Atreides in 1984’s Dune and Jeffrey Beaumont in Blue Velvet. “David was in tune with the universe and his own imagination on a level that seemed to be the best version of human,” he continued. “Every moment together felt charged with a presence I’ve rarely seen or known. Probably because, yes, he seemed to live in an altered world, one that I feel beyond lucky to have been a small part of. And David invited all to glimpse into that world through his exquisite storytelling, which elevated cinema and inspired generations of filmmakers across the globe,” said his Mulholland Drive lead Naomi Watts. For Wild at Heart‘s Nicolas Cage, Lynch “was a singular genius in cinema, one of the greatest artists of this or any time,” he told Deadline. “He was brave, brilliant and a maverick with a joyful sense of humour. I never had more fun on a film set than working with David Lynch. He will always be solid gold.”
“The world is going to miss such an original and unique voice. His films have already stood the test of time and they always will,” noted Steven Spielberg, who gave Lynch one of his last role sas an actor, casting his fellow helmer as another Hollywood great, John Ford, in the autobiographical The Fabelmans. For another filmmaking icon adoring a filmmaking icon, Martin Scorsese also provided his ode in a statement: “I hear and read the word ‘visionary’ a lot these days — it’s become a kind of catch-all description, another piece of promotional language. But David Lynch really was a visionary — in fact, the word could have been invented to describe the man and the films, the series, the images and the sounds he left behind. He created forms that seemed like they were right on the edge of falling apart but somehow never did. He put images on the screen unlike anything that I or anybody else had ever seen — he made everything strange, uncanny, revelatory and new. And he was absolutely uncompromising, from start to finish.”
When Lynch committed his journey to paper with 2018’s must-read Room to Dream, the talent that crafted the most-stunning debut feature there is with Eraserhead, earned a Best Director Oscar nomination for his second film The Elephant Man (and later for Blue Velvet and Mulholland Drive), and has nine Emmy nods to his name for the first and third seasons of Twin Peaks, couldn’t have chosen a better moniker for his memoir. When Twin Peaks: Fire Walk with Me advises that “we live inside a dream”, it also couldn’t have felt more apt. To watch Lynch’s work is to fall into his dreams — surrealist visions filled with clashes and contrasts, such as his career-long fascination with the sublime and the terrifying sides of suburbia and domesticity — then be inspired to have your own, whichever places both wonderful and strange that they might take you.
Suzanne Tenner/SHOWTIME
For Lynch, where his output transports fans to has always been personal, including to them. Famously, he eschewed explanations, letting his creations speak for themselves, and giving everyone watching, viewing, listening and appreciating the room to draw their own interpretations. “It’s the ideas that come. And many of the ideas that come are conjured by our world. And we all know that there’s many mysteries. I always say that human beings are like detectives: we want to know what’s going on and what the truth of a thing is, and we see our world, we feel it, we feel there’s things going on,” he said to David Stratton at a pubic in-conversation event during his trip to Brisbane. “I always say that the filmmaker has to understand the thing for himself or herself. But when things get abstract, or a little bit abstract, there’s room for many interpretations, and each person should be able to make up his or her mind to feel what the things mean.”
To pay tribute to Lynch, damn fine cherry pie should be on the menu. So should a damn fine lineup of viewing, because there’s no better way to honour a filmmaker like no other than to relish his on-screen dreams. When his family announced his passing at the age of 78, they noted that he’d remind everyone to “keep your eye on the donut and not on the hole”. Take that advice by enjoying everything that’s available to stream right now — and Lynch’s version of a small-town-set TV murder-mystery, its big-screen prequel, a documentary about him, several acting roles and a monkey interrogation are just the beginning. (Sadly, Eraserhead, The Straight Story and Inland Empire aren’t available at the time of writing, but they’d be on the list otherwise.)
The Elephant Man
David Lynch has never been shy about how unlikely it was for the director of Eraserhead to score a job making a Victorian era-set period drama in England with John Hurt (Jackie), Anne Bancroft (Keeping the Faith), John Gielgud (Elizabeth) and Anthony Hopkins (Those About to Die) — or how he thought that once Mel Brooks (Only Murders in the Building), who executive produced the film, saw his debut feature that he wouldn’t get the gig. Thankfully Brooks was wowed, and so cinema gained an affecting movie from Lynch that’s restrained compared to much of his other output, but also deeply compassionate and unflinching. With Hurt astonishing as its lead, the eight-time Oscar-nominated The Elephant Man tells of the IRL life of Joseph Merrick, whose physical deformities saw the movie’s moniker slung his way.
The Elephant Man streams via iTunes and Prime Video.
Dune
Before Timothée Chalamet (A Complete Unknown) became cinema’s ultimate spice boy — Paul Atreides, as he plays in 2021’s Dune and 2024’s Dune: Part Two for Denis Villeneuve (Blade Runner 2049) — Kyle MacLachlan (Blink Twice) walked without rhythm first, in his debut collaboration with David Lynch. The latter disowned his adaptation of Frank Herbert’s sci-fi novel, his third feature, his only attempt at a blockbuster and a movie that wasn’t met warmly when it released in the mid-80s; however, there’s no mistaking the visual ambition that the director attempts to bring to the page-to-screen space opera. Everyone knows the film’s narrative due to the two Chalamet-starring flicks, but those versions didn’t also star Sting (playing Feyd-Rautha before The Bikeriders‘ Austin Butler) or Patrick Stewart (as Gurney before Outer Range‘s Josh Brolin).
Dune streams via Netflix and Stan.
Blue Velvet
What lurks behind seeming perfection is a lifetime-long on-screen obsession for David Lynch, beginning with parenthood in Eraserhead and applying to white picket-fence life in every iteration of Twin Peaks, plus Blue Velvet. Returning home to Lumberton, North Carolina from college, Kyle MacLachlan’s Jeffrey Beaumont is soon drawn into the nightmare lived by lounge singer Dorothy Vallens (Isabella Rossellini, Conclave) at the hands of gangster Frank Booth (Dennis Hopper, Crash) — all after he finds a severed human ear in a field near his house. The film’s exploration of darkness lingering within also applies to its protagonist, with MacLachlan stellar in a movie that also marks Lynch’s first collaboration with Laura Dern (Lonely Planet), features a haunting performance by Hopper and ensures that you’ll never hear Roy Orbison the same way again.
Blue Velvet streams via iTunes.
Twin Peaks
It’s the mind-bending small-town mystery-drama that comes with its own menu — and with plenty of thrills, laughs and weirdness. Whether you’re watching Twin Peaks for the first or 131st time, you’ll want to do so with plenty of damn fine coffee, fresh-made cherry pie and cinnamon-covered doughnuts to fuel your journey. David Lynch and Mark Frost’s seminal TV series doesn’t just serve up 90s-era oddness with backwards talk, log-carrying ladies, couch-jumping monsters and fish in percolators, as centred around the murder of high-schooler Laura Palmer (Sheryl Lee, Limetown), though. It returned for an astonishing third season in 2017 as well that’s the finest thing to reach the small screen in the 21st century. There’s never been anything on television like Twin Peaks. No one can play a kind and quirky FBI boss like Lynch either, or a dedicated agent like Kyle MacLachlan as Dale Cooper.
Twin Peaks streams via Paramount+.
Twin Peaks: Fire Walk with Me
Twin Peaks: Fire Walk with Me is a prequel to Twin Peaks, as well as the exceptional TV show’s leap to cinemas. The film is also a masterpiece in tragedy, and the same in empathy. Before she’s “dead, wrapped in plastic” in the program’s debut instalment, David Lynch truly sees Laura Palmer and everything that she goes through. Set in the lead-up to her demise, the flick burrows deep into the menacing forces at play. It’s a movie of sheer dread, even though viewers know what’s going to happen. As only he can, Lynch steeps every frame in the brutal pain, terror and suffering of his doomed protagonist, ensuring that his audience walk in her shoes, feel what she’s going through and see how ravenously that the world tears into her, all while baking in his adored surrealist touches. He also works David Bowie into the Twin Peaks cast, magnificently so.
Twin Peaks: Fire Walk with Me streams via YouTube Movies.
Wild at Heart
David Lynch directing Nicolas Cage: of course it had to happen, and thankfully did. That’s one helluva filmmaker-actor combination — and when the unrivalled helmer had the incomparable star in front of his lens, the Palme d’Or at the Cannes Film Festival came his way. The movie that Lynch made between Twin Peaks‘ initial run and the series’ big-screen prequel Fire Walk with Me, it features one of Cage’s greatest performances. Cage playing one half of a couple on the run (opposite Laura Dern), singing Elvis tunes like he was born to and navigating a Lynchian crime-romance flick truly is what dreams are made of. Adapting the 1990 novel of the same name — by author Barry Gifford, who went on to co-write Lost Highway with Lynch — Wild at Heart is also as distinctive as crime road movies get.
Wild at Heart streams via iTunes and Prime Video.
Lost Highway
It’s thanks to Lost Highway that Nine Inch Nails’ ‘The Perfect Drug’ exists; before he was composing Oscar-winning The Social Network and Golden Globe-winning Challengers scores, Trent Reznor also produced this 1997 film’s soundtrack for David Lynch. Tunes by NIN, David Bowie, The Smashing Pumpkins and Lou Reed are just one of movie’s highlights, however. Initially with Bill Pullman (Murdaugh Murders: The Movie) as a saxophonist, then with Balthazar Getty (Megalopolis) playing an auto mechanic — and with Patricia Arquette (Severance) acting opposite each, featuring in both of the flick’s two parts — Lost Highway embraces its sinister tone from the get-go, with its guiding force strapping in for an eerie and audacious ride filled with mysterious VHS tapes, murder convictions and sudden swaps, and refusing to pump the brakes for a moment.
Lost Highway streams via Stan.
Mulholland Drive
In dreams, Mulholland Drive lingers. In reality, the Los Angeles-set masterpiece has as well since 2001. Although the term naturally applies to his entire filmography, movies don’t get much more Lynchian than this shimmering neo-noir and tribute to Tinseltown that started as a TV project, and stars Naomi Watts (Feud) as eager aspiring actor Betty Elms and struggling thespian Diane Selwyn. One is fresh from Deep River, Ontario and chasing her dreams. The other no longer has stars in her eyes. Reflections and doppelgängers, fantasies and alternate realities, accidents and surprises, hopes and failures, how Hollywood demands reinvention, the roles that people play for and without the cameras: they’re all part of a mesmerising picture (as are Father of the Bride‘s Laura Harring and Beetlejuice Beetlejuice‘s Justin Theroux among the cast).
Mulholland Drive streams via Binge, Stan and ABC iView.
Duran Duran: Unstaged
Inland Empire will always be David Lynch’s last narrative feature, but it wasn’t his last full-length film. Five years after the movie that he wanted Laura Dern to win an Oscar for so badly that he took to Sunset Boulevard with a cow by his side, he helmed Duran Duran: Unstaged. Before making his one and only concert flick, he’d directed music videos for Chris Isaak’s ‘Wicked Game’ and Moby’s ‘Shot in the Back of the Head’, among others. Afterwards, he’d do the same on Nine Inch Nails’ ‘Came Back Haunted’ and several of his own tunes with Chrystabell, too. But just once, for two hours, he brought an entire live gig to the screen — as shot in Los Angeles on the British band’s The All You Need Is Now tour, complete with ‘Hungry Like the Wolf’, ‘Girls on Film’, ‘Notorious’, ‘Rio’, ‘A View to a Kill’, ‘Come Undone’, ‘Planet Earth’, ‘Ordinary World’ and more on the setlist.
Duran Duran: Unstaged streams via Docplay
David Lynch: The Art Life
Even when a David Lynch-directed project is diving into nightmares, which is often, the filmmaker’s movies and TV shows get audiences yearning to spend time in their company, lapping up his unequalled vision of the world. That’s the reason that documentary Lynch/Oz, about his obsession with The Wizard of Oz in his work, exists. Watch doco David Lynch: The Art Life and viewers can spend time in Lynch’s company as well. For helmers Rick Barnes, Olivia Neergaard-Holm and Jon Nguyen — all directing their only feature so far — Lynch takes everyone on a tour of his upbringing, efforts to make Eraserhead in the 70s, and artistic and musical output. Of course, don’t expect any answers. Again, Lynch wants to let his work speak for itself, rather than him speak about it. But do expect to spend an enjoyable time with the unparalleled master auteur.
David Lynch: The Art Life streams via Docplay.
What Did Jack Do?
In a dimly lit room in a grimy train station, a capuchin monkey sits at a table. In walks a detective, who then starts smoking a cigarette and interrogating the animal in front of him. They chat, bantering back and forth as the cop asks questions and the primate answers. At one point, the monkey even sings. Queries range from “do you know anything about birds?” to “you ever ride the rodeo?”, all in a quest to solve a murder. A chicken also pops up, and a waitress. If the above scenario sounds more than a little surreal, that’s because it is — especially given that it’s part of David Lynch’s 17-minute short film What Did Jack Do?. The black-and-white piece also stars the inimitable Lynch as the detective. It’s a unique, delightful and characteristically eccentric work by one of the most distinctive folks to ever stand behind a camera.
What Did Jack Do? streams via Netflix.
Lucky
Six times throughout their careers, David Lynch directed Harry Dean Stanton. In the year that delivered their last collaboration in one of Lynch’s projects — the third season of Twin Peaks, which followed Wild at Heart, miniseries Hotel Room, Twin Peaks: Fire Walk with Me, The Straight Story and Inland Empire — and sadly saw Stanton pass away at the age of 91 after 200-plus acting credits, they teamed up as fellow performers in the delightful Lucky. In the directorial debut of actor John Carroll Lynch (Babes), the veterans are thrust to the fore as Stanton plays a 90-year-old small-town loner who is forced to face his mortality. The landscape of his face pairs perfectly with the arid dessert surroundings, while his specific brand of cantankerous charm finds its match in Lynch as his monologue-spouting, tortoise-loving pal.
Lucky streams via Brollie. Read our full review.
The Fabelmans
With The Fabelmans, Steven Spielberg pays tribute to cinema in as many ways as he can fit into a single feature, all while relaying how he grew up as a movie-loving kid — and sharing the affection with his family, too, as he explores the complicated dynamics that shaped his childhood. The director behind everything from Jaws and Indiana Jones to E.T. the Extra-Terrestrial, Jurassic Park and West Side Story also tips his hat to two other filmmaking forces in his coming-of-age affair: four-time Best Director Oscar-winner John Ford, who Spielberg met when he was starting out, and David Lynch. The latter fellow helmer plays the former, in an inspired stroke of casting. Although any acting performance by Lynch is a treat, this one, as he makes a point about interesting filmmaking using the horizon to Gabriel LaBelle (Saturday Night) as Spielberg’s surrogate, couldn’t be more perfect.
The Fabelmans streams via Netflix and ABC iView. Read our full review.
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