David Lynch is the great maverick of U.S. cinema: His films are in some ways part of Hollywood's tradition, but at the same time they make a disturbing break with it. This is particularly visible in the 1986 classic "Blue Velvet" - with Kyle MacLachlan, Laura Dern, Isabella Rossellini and Denis Hopper. This work, situated between film noir and coming-of-age film, invokes common narrative and aesthetic Hollywood conventions, but takes them in a completely different direction. David Lynch shows the offbeat in the idyllic, the barbaric in the peaceful, the obsessive in the schmaltzy. The focus is on a young man who goes in search of his desire and in the process is confronted with his own dark side. It is often said that David Lynch makes obscure films, that they are chaotic psycho trips, labyrinthine and ultimately indecipherable. But what if exactly the opposite is the case? "Blue Velvet" does pose some riddles, but they can be solved if you pick up the right key. This key is Sigmund Freud. Let's subject the work to a psychoanalysis, let's put "Blue Velvet" on the couch: More on this by Wolfgang M. Schmitt in the film analysis!
 
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