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’ female image – think of her dancing, alone, on tiles of the Double R Diner – it’s as if people just couldn’t get a handle on it.”.

This is our first clue about what Lynch’s films say about sex.

Where his debut film seemed to spring fully formed and without precedent from some other planet, Lynch’s short films give us the biggest clues as to what the man is really all about: they are moving images in the purest sense – paintings brought from stillness to life.

The mood sustained across his films has much in common with that of the 20th century’s titan painters Luc Tuymans and Gerard Richter: that same everyday violence thing, that same disturbed energy.

), the next-morning scene involving the woman in her man’s shirt bringing him a cup of fresh coffee as he wakes.

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At this basic level of genre, Lynch entrenches his antithetical stance between sex and love. While his first feature is free of the violent sexual imagery of later Lynch, there’s a strong sense of sexual anxiety in the woes of its protagonist, the baffled father Henry Spencer.

When Lynchian sex is not outright fearful, it is just plain bewildering. From Eraserhead, the pattern is set – the best Lynchian sex is illusory or the product of an ill-fated relationship.

Why is the most joyful sexual relationship in his films – Lula and Sailor’s in Wild at Heart – the least convincing?

Because they’re art-films so uniquely of their own genus, it’s easy to forget that they’re also mostly crime films.

And in them, sex is almost always central to the crimes committed and the things going wrong.