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 »
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 »
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 surrealistic film with input from Salvador Dalí, director Luis Buñuel presents stark, surrealistic images that shock the viewers including the slitting open of a woman's eye and a dead ... See full summary »
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 in flashback) how he became obsessed by her (so much so that he failed to notice that she was played by two different actresses, representing different sides of her personality), and how she tantalised him, but would never allow him to satisfy his desire for her... Written by
Michael Brooke <firstname.lastname@example.org>
Luis cameo: as in 'Belle De Jour' and 'Phantom of Liberty' Bunuel does another walk-on in Obscure Object.. immediately after Fernando Rey's first scene - Luis and his chauffeur are blown to bits on their way to the bank, victims of an unexplained terrorist attack. See more »
I respect love too much to go seeking it in the back streets.
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Yes, the back drop of terrorism. Yes, the ubiquitous sack. But how about the mouse caught in a trap inexplicably in the middle of a scene? Or the fat disgusting fly in Fernando Rey's drink in another scene? What was it doing there? (Yes I know, the backstroke!) But seriously, these bizarre additions are intrusive but do not actually disrupt the narrative (as heavy symbolism does in so many art house films.) They are intriguing. To me it is meant to offer the audience a clue that Mathieu's love for Conchita is not pure. It is contaminated by lust and the shallow insincerity of both of them.
I'm open to better suggestions.
I have to say I loved this film.
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