Celestine, the chambermaid, has new job on the country. The Monteils, who she works for are a group of strange people. The wife is frigid, her husband is always hunting (both animals and ... See full summary »
A surrealist tale of a man and a woman who are passionately in love with one another, but their attempts to consummate that passion are constantly thwarted, by their families, the Church and bourgeois society.
Caridad de Laberdesque
Just after boarding a train, much to the surprise of his fellow passengers, a man pours a bucket of water over a young girl on the platform. Over the next few hours he explains (and we see ... See full summary »
One of Luis Bunuel's most free-form and purely Surrealist films, consisting of a series of only vaguely related episodes - most famously, the dinner party scene where people sit on ... See full summary »
A surrealistic documentary portrait of the region of Las Hurdes, a remote region of Spain where civilisation has barely developed, showing how the local peasants try to survive without even the most basic utilities and skills.
A bizarre black comedy about a man whose overwhelming ambition in life is to be a renowned serial killer of women, and will stop at nothing to achieve it - but not everything goes according to plan... Written by
Michael Brooke <email@example.com>
The movie was shot in the middle of a big economic crisis for the Mexican cinema. Production was about to be shot down a few times and the famous scene with the mannequin being cremated was filmed only once because they couldn't afford another mannequin. See more »
You can go through Ensayo de un crimen looking for symbolism and satirical details about bourgeois life. Ok but the movie itself is not really gripping.
Worst of all the narration is poorly handled. The smooth Buñuel style only works when the script is witty enough to keep you brisk with every single line and every single move. Example: El Angel exterminador (1962) keeps you awake, caring for a dozen characters and not having time to think it over.
The criminal life of Archibald de la Cruz can be divided in three parts depicting three criminal cases told by Archibald himself. The way they are interlaced does not help to keep a strong interest in the 'hero'. Everything is quite monotonous. It's Archibald's life ? Then why tell his life? Mixing scarce manic criminal attitudes with the life of a dull dandy does not make a tasty cocktail. Él (1952) had already the same narrative weakness but there were two main characters. Here nothing really goes on the side of fantasy and the settings are not great.
Personally I made do with the ideas/images Hitchcock might have taken from this fellow jesuit-ed schoolboy.
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