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The 1985 film of Death of a Salesman is a radical reinterpretation of Arthur Miller's original play. It structures the play as the protagonist's last-moment retrospection of his entire life, a panoramic view that runs through the mind at the moment of his suicidal death. As such, the film recuperates the play's original title—“Inside His Head." The unusual interpretation of the film develops along with a deployment of mirrors and doors in its shooting sets, which invokes Jacques Lacan's theories of subject formation and of desire as metonymy. This paper thus investigates the intersections of the film-text and Lacan's seminal texts. The mirrors that reflect and lure Willy Loman in the film are illustrative of Lacan's “mirror-stage” in which the subject emerges in accordance with its mirror image. And the doors that Willy repeatedly enters and exits make visible the linguistic operation of the Unconscious—that is, metonymy—by which the subject is bound up with his inexhaustible, and impossible, pursuit of desire. In its rigorously theoretical and strongly imaginative interpretation of the original play, the film decidedly deconstructs the rigid notion of the essentialist subject and paves the way to a more liberated sense of self.