In my essay on the richly interpretable film of David Lynch, Lost Highway I intend to make a connecting point of the prior Freudian and Lacanian interpretations and a visual cultural reading of the movie. My main hypothesis is that the film’s world claimed as a possible reveller of the hidden desires or the Lacanian Real can be understood as a proclamation of Vilém Flusser’s concept, the “photographic universe” referring to our world after the cultural turn of the technical mediums. I do not undertake a mission impossible and exclude any of the previous explanations of this film of mystery. I do not even think this is a film that can have one comprehensive interpretation over all attempts of solving it.