David Lynch’s Mulholland Drive (2001) is an elaborately drawn story of desire, but even more than this, I’m going to argue that it’s the story of a fragile anti-hero in thrall to her merciless trickster. Lynch’s starlet wannabe ‘Diane’ (Naomi Watts), who kills her lover and is killed, epitomizes the plastic nature of reality and the need to ﬁnd the still point that lies beneath it. My approach focuses on the idea that the ﬁlm’s surrealist structure and imagery work to accentuate both the tenuous margin between dream/waking states and the struggle for psychological liberation. This is achieved through potent symbols, conﬁgurations, and locations where inner dialogue and movement take place. We might call these sites expressions of the Self, Jung’s concept of psychological unity now more popularly thought of as an ideal fantasy of unconscious/conscious conversation.