Abstract This paper explores the aesthetic importance, artistic style and appeal as well as other aspects of David Lynch’s three films Eraserhead, Lost Highway and Inland Empire basing on Michel Chion’s ideas and perspectives as well views of other critics and film enthusiasts with regards to Lynch’s use of sound in the films. It used the case study method to analyse the films Eraserhead, Lost Highway and Inland Empire from different time frames of Lynch’s career as a filmmaker. It was able to establish the various contributions, experimentation of Lynch on sound as an integral part of the visual film as well as introduce ways in creating messages with the use of sound or sound effects and background. Introduction & Rationale This study will explore the role that theories of sound and music usage play in the aesthetics of the film. To do this, I have chosen in particular David Lynch who has introduced his own understanding of the symbiosis between audio or sound effects and film in a very artistic and particular manner. David Lynch is one of the most experimental and innovative film directors of his time. His films had been described as fantastic and real, romantic and perverse, postmodernist, surrealist and deviant, all at the same time. His movies are complex and elaborated to the detail, his use of symbolism enables us to see the world in a strange, new-found perspective contrary to the rest of humanity, through Lynch’s eyes. This study will focus on 3 of the films of David Lynch, one from his early period — Eraserhead, one from his middle period — Lost Highway, and one of the most recent ones — Inland Empire, and see how he has evolved through time. I believe that analysing his films in such a manner will help to understand the message that he is trying to pass on to the world through his eccentric, shocking and poetic style where he applies metaphors to show a beauty that can at times be seen as brutal. I find David Lynch’s films very interesting for several reasons. One of them is because he never talks much about his movies. He had mentioned in several interviews that he does not want to give any detail into the meaning of things, especially if something is abstract. He wants to show how much you are able to express without actually having to talk about concrete things. This is exactly the way he wants to express his art to the audience. There is another reason that I have chosen these films. Today, sound is still a generally disregarded component of a film. Many industry productions do not give sound or audio enough importance and it would be left as a last-minute component of the whole production process with inadequate planning, if not used as a way to compliment the imagery. Taking into account that Sound Design is a quite recent concept which developed in the 70s, growing with a more demanding complex visual design, there was a mandatory need for higher quality sound effects to accompany it. According to Mark Mancini (1985), it is possible to say that sound designers are the director’s ears and call them “Aural artists” (page 360). The sound film generally understood as a motion picture with synchronized sound, or sound technologically coupled to image had its first known public exhibition of projected sound in Paris in 1900. Decades would pass, however, prior to the introduction of a reliable synchronization that wa