Arts and Entertainment David Lynch, Untitled (England). Late 1980s, early 1990s

A recurring motif in his films, Lynch first started photographing abandonned factories in the early 1980s

Film: Strange. The man seems so normal

In his new film there's no weird stuff - no dead homecoming queens, no filicide. And he's even taken to wearing a tie. Has David Lynch gone soft?

Film: That was me there, fighting John Wayne

David Thomson meets Richard Farnsworth, who started out with Howard Hawks and is now the star of David Lynch's `The Straight Story'

Pop: God Is In The Details

The Independent's guide to pop's fiddly bits

Nervous Hollywood shuns Cannes Festival

BRITISH film stars and art-house directors from around the world gathered in Cannes yesterday to take advantage of the gap left by Hollywood studios who have shunned the film festival this year.

Saying it with flowers


Taking a walk on the wild side ... in Seattle

The 'wholesome' city has become the murder-mystery capital of the United States. By Andrew Gumbel

Film: Mulberries and the meaning of life

THE BIG PICTURE: A Taste of Cherry Abbas Kiarostami (PG)

The face is familiar...

Will Patton. The blond hood in Desperately Seeking Susan; leather- clad sadist in After Hours; his talents were wasted as bearded bad guy in The Postman.

friday's tickets

Throw open the windows, turn on the lights, get a dozen, well- adjusted friends to join you on the sofa. Then - and only then - should you consider watching David Lynch's latest weird-fest, Lost Highway. The lives of two seemingly unconnected men (Bill Pullman and Balthazar Getty), are shadowed by a camcorder-wielding, gun-toting dwarf and a lethal femme fatale (Patricia Arquette). A supporting cast of psychotic gangsters and sublimely ineffectual policemen complete David Lynch's return to form.

Moments that made the year: Fine romance proves that big isn't necessarily beautiful

The best films can take you back to the first time you were ever held in the spell of the cinema screen, with the smell of popcorn hanging in your nostrils, and the sound of the projector whispering in the distance. There were a handful of pictures this year that made me remember how intoxicating cinema can be. My favourite film of 1997 was Baz Lurhmann's Romeo & Juliet, which proved to be less a case of the film-maker adapting the text than lunging at it with a broad sword. Rather than simply updating the play, Luhrmann dragged the setting into modern times while audaciously keeping the language firmly plugged into the late 16th century. The results were sensual, witty and bold, with moments that made Fellini look like a master of understatement.

Media: Good Ad Bad Ad-GGT Wrigley's

In which a leading advertising expert picks some of the best and worst around. This week Dave Buonoguidi, joint creative director, St Luke's, on television commercials high and low

Comedy: Fringe benefits in the capital

When the League of Gentlemen bound on stage with cheesy grins and dinner jackets, the Footlights alarm bells start to ring in your head. But this is just the first of many occasions when the Perrier Award-winning sketch trio of Mark Gatiss, Steve Pemberton and Reece Shearsmith play with your expectations. Things are never as they seem in the twisted world of the League of Gentlemen.


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