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 »
When the young woman Tristana's mother dies, she is entrusted to the guardianship of the well-respected though old Don Lope. Don Lope is well-liked and well-known because of his honorable ... See full summary »
A surrealist tale of a man and a woman 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
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 »
Several bourgeois friends planning to get together for dinner experience a succession of highly unusual occurrences that interfere with their expected dining enjoyment. Written by
Ed Cannon <firstname.lastname@example.org>
In an interview, co-writer Jean-Claude Carrière revealed he and Bunuel had a starting point for the story but then became stuck. After meeting with the Producer, Serge Silberman, Silberman gave them inspiration when he recounted a story of how he had run into two Brazilian friends in the streets of Paris. Silberman invited these friends to do dinner the following Tuesday, forgetting that he had another dinner that day. It happened so quickly the producer forgot to tell his wife. The two Brazilians and their wives turned up to the Silberman household on the Tuesday night after Mrs Silberman had eaten and settled down for the night, and was watching TV in her dressing gown when the doorbell rang. This real-life event was used in the film for a similar scene. See more »
After sending the terrorist out of his apartment, Rafael's position in the windows changes between shots. See more »
Finally, if you think about it, the only solution to starvation and poverty is in the hands of the army. You'll realize it in Miranda, when you have to open your pretty thighs to an infantry battalion.
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Leave it to Luis Bunuel to hit the head of the nail like he did here. The style and mood created by this movie is immaculate. It is a satirical look at complete bedlam through the eyes of our meticulous & pedantic champions. His camera, dialog, settings - everything stays true to his bourgeois focal point. And nowhere do you ever see them or the camera frame lose their cool
even with the world in shambles at every turn. They simply walk through
this movie the way blind persons would a construction site.
I've heard it said many times that Bunuel made the bourgeois class enemy number one throughout his lifetime - that, and the catholic church, who also receives a fair share of ridicule in the picture. While this movie is more like a dark comedy there is also, I believe, a strong spiritual/philosophical/& moral whatever statement here: That the world and all its unanswerable/unknowable/ & unwatchable chaos can not be simply pushed aside. You can not brush off the dirt and consider yourself above or separate from it. You are part of the whole, and you are most likely viewed as an ass by 95% of the rest of us to consider yourself otherwise. That IS something to laugh at. Bunuel's life and work was a heroic statement against such an unlikely target. It's Bunuel's arsenal of genius versus the impenetrable ignorance of this giant. Bunuel begrudgingly makes them the protagonists, but betrays them ever so slyly. I love it - a masterpiece.
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