In the suburbia of a logging town, the discovery of a severed ear in a field leads Jeffrey (McLauchlan) on a journey into the darker side of his town and his psyche, as he's drawn to a beautiful nightclub singer (Rossellini) victimised by a disturbing psychotic (who else but Dennis Hopper).

This is a new print of the film where David Lynch first explored his favourite subject ((mdash)) the strange and dangerous underside of seemingly normal people and places, a theme that's reappeared in 'Twin Peaks', 'Wild at Heart', Lost Highway, and Mulholland Drive. Unlike the other four, Blue Velvet doesn't require you to engage in a prolonged conversation outside in the lobby afterward to work out what actually happened. It has a beginning, a middle, and an end, in that order, and nobody either changes form or channels a primal force of evil at any point in the film (unless you view Roy Orbison as a primal force of evil). Okay, so the film plays like The Hardy Boys Learn Sadomasochism, with disconcerting leaps from light-and-fluffy to black-and-disturbed and back again, but still, if you're after something that manages to be both deranged and (almost) coherent, this is something to provoke a few nightmares.