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If any filmmaker upon their sad passing deserved an interruption into our regular programming to honour their creative legacy, it surely would be David Lynch (1946-2025). For many workers in the film and TV business, whether in exhibition or production, Lynch - the unique creative mind behind TWIN PEAKS, MULHOLLAND DRIVE and BLUE VELVET - was and is the reason they do what they do. Long ago, before our 2019 re-opening, Riverside Studios hosted a 'David Lynch Day' where four of his films screened back to back. To mark his passing, but also pay joyous tribute to his dreams and nightmares, Riverside brings you a new David Lynch Day on 29 March 2025: featuring BLUE VELVET, WILD AT HEART, LOST HIGHWAY and MULHOLLAND DRIVE.
Ticket-holders can enjoy a 33% discount for 2 or more films bought in the same order.
Please note, there will be NO adverts and trailers before the films in this marathon and the first film will start promptly at 13:00. There will be time gaps of various lengths in between the films and the cinema bar and and upstairs Riverfront restaurant will be open throughout for refreshment. See below for exact timings.
BLUE VELVET – Sa 29 Mar 2025 (13:00–15:00) – Screen 1
WILD AT HEART – Sa 29 Mar 2025 (15:10–17:14) – Screen 1
LOST HIGHWAY – Sa 29 Mar 2025 (17:25–19:34) – Screen 1
MULHOLLAND DRIVE – Sa 29 Mar 2025 (20:25–22:52) – Screen 1
MULHOLLAND DRIVE
Lynch’s ninth feature, widely considered the masterpiece of his late career despite its evolution from an aborted TV pilot, takes its name from the storied Los Angeles road and weaves its plot around the city’s signature industry: motion pictures. Blonde Betty Elms (Naomi Watts in her breakthrough performance) arrives in Hollywood to become a movie star and meets an enigmatic amnesiac brunette (Laura Harring). Around this deepening friendship, Lynch builds a unique puzzle movie, steeped in the romance and artifice of a bygone Hollywood. Lynch’s best reviewed film since Blue Velvet earned him an Academy Award nomination for Best Director and landed atop many best-of-the-decade lists. It remains the ultimate expression of Lynch’s deep love-hate relationship with Hollywood.
