IMDb > That Obscure Object of Desire (1977)
Cet obscur objet du désir
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That Obscure Object of Desire (1977) More at IMDbPro »Cet obscur objet du désir (original title)

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Luis Buñuel (scenario)
Jean-Claude Carrière (collaboration)
View company contact information for That Obscure Object of Desire on IMDbPro.
Release Date:
8 October 1977 (USA) See more »
Luis Bunuel's Masterpiece
Recounted in flashback are the romantic perils of Mathieu, a middle-aged French sophisticate as he falls for his nineteen year-old former chambermaid Conchita. Full summary » | Add synopsis »
Nominated for 2 Oscars. Another 12 wins & 3 nominations See more »
User Reviews:
My Conchita... See more (61 total) »


  (in credits order) (verified as complete)

Fernando Rey ... Mathieu

Carole Bouquet ... Conchita

Ángela Molina ... Conchita (as Angela Molina)
Julien Bertheau ... Edouard
André Weber ... Martin (as Andre Weber)

Milena Vukotic ... Femme dans le train

María Asquerino ... Encarnación - madre de Conchita
Ellen Bahl ... Manolita
Valerie Blanco ... Isabelle (as Valérie Blanco)
Auguste Carrière ... La femme qui reprise dans la vitrine (as Auguste Carriere)
Jacques Debary ... Un voyageur
Antonio Duque ... Conducteur
André Lacombe ... Portier
Lita Lluch-Peiro ... Ballerine
Annie Monange
Jean-Claude Montalban
Muni ... Concierge
Bernard Musson ... Deporting Policeman
Piéral ... Psychologist (as Pieral)
Isabelle Rattier
David Rocha ... El Morenito
Isabelle Sadoyan ... Jadiner
Juan Santamaría
rest of cast listed alphabetically:
Mario David ... (uncredited)
Agnès Gattegno ... (uncredited)
Silke Humel ... (uncredited)
Roger Ibáñez ... (uncredited)
Richard Leduc ... (uncredited)
Guy Montagné ... (uncredited)
Justo Ruiz ... Sect's Member (uncredited)

Directed by
Luis Buñuel  (as Luis Bunuel)
Writing credits
Luis Buñuel (scenario) (as Luis Bunuel)

Jean-Claude Carrière (collaboration) (as Jean-Claude Carriere)

Pierre Louÿs (inspired by the book "La femme et le pantin")

Produced by
Serge Silberman .... producer
Cinematography by
Edmond Richard (director of photography)
Film Editing by
Hélène Plemiannikov  (as Helene Plemiannikov)
Production Design by
Pierre Guffroy 
Set Decoration by
Pierre Lefait 
Costume Design by
Sylvie de Segonzac 
Makeup Department
Jean-Pierre Berroyer .... hair stylist
Odette Berroyer .... key makeup artist
Production Management
Ulrich Picard .... production manager (as Ully Pickard)
Carlos Ramón .... production manager: Spain (as Carlos Ramon)
Second Unit Director or Assistant Director
Louis Becker .... trainee assistant director
Juan Luis Buñuel .... assistant director (as Juan-Luis Bunuel)
Norbert Damman .... trainee assistant director (as Norbert Dammann)
Pierre Lary .... assistant director
Art Department
Enrique Alarcón .... set designer: Spain (as Enrique Alarcon)
Pierre Barbet .... furniture
Claude Moesching .... assistant production designer
Sound Department
Gina Pignier .... sound editor
Jacqueline Porel .... sound re-recordist
Alex Pront .... sound mixer
Guy Villette .... sound engineer
Olivier Villette .... assistant sound engineer
Special Effects by
François Suné .... special effects (as François Sune)
Camera and Electrical Department
Casimiro Dengra .... chief electrician: Spain
Jean Distinghin .... still photographer
Jean Harnois .... camera operator
Alain Herpe .... assistant camera
Philippe Houdart .... assistant camera
Julio Leyva .... assistant camera (as Julio Leiva)
Hubert Segond .... chief electrician
Pierre Vespier .... key grip
Alain Tanguy .... additional electrician (uncredited)
Costume and Wardrobe Department
María Teresa García Trueba .... dresser (as Maria Teresa Garcia)
Mimi Gayo .... assistant costume designer
Editorial Department
Jean Goudier .... apprentice editor
Location Management
Julio Arriva .... location manager: Spain
Jean Revel .... location manager
Other crew
Ginette Billard .... assistant general manager
Santiago DeBenito .... accountant: Spain (as Santiago de Benito)
Marie-Jo Duchemin .... production secretary
Jacqueline Dudilleux .... production administrator
Suzanne Durrenberger .... script girl
Michele Nicholson .... secretary: Spain
Jacqueline Oblin .... production administrator
Gille Schneider .... general manager
Serge Silberman .... presenter
Alan Best .... trainee (uncredited)
Michel Piccoli .... voice dubbing: Fernando Rey (uncredited)
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Cet obscur objet du désir" - France (original title)
See more »
102 min
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Argentina:18 (original rating) | Argentina:16 (re-rating) | Australia:M | Finland:K-16 | France:Tous publics | Hong Kong:IIB | Ireland:15 | Netherlands:16 | Portugal:M/12 (Qualidade) | Singapore:M18 | Sweden:15 | UK:X (original rating) | UK:15 (video) | USA:R | West Germany:16 (original rating) | West Germany:12 (re-rating)

Did You Know?

According to screenwriter Jean-Claude Carrière, the reason Maria Schneider was dismissed from the film was her heavy drug use, which caused her to give a "lackluster" performance and caused tremendous friction between her and Buñuel.See more »
Mathieu:My Conchita...See more »
Movie Connections:
Referenced in Historia de 'S' (1979)See more »
Die WalküreSee more »


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104 out of 128 people found the following review useful.
My Conchita..., 4 October 2004
Author: Andy (film-critic) from Bookseller of the Blue Ridge

I would like to begin by saying that this is one of the most bizarre films that I have ever experienced in my career as a movie buff. I have seen some twist endings, some passionately bad French films, and even some stalker films, but nothing compares to the cinematic genius that I just witnessed. Being a Bunuel 'virgin', I didn't know what to expect coming into this film.

I was ready for anything, but interestingly enough nothing will prepare you for this film. Deeply rooted in cinematic symbolism, we watch as two very interesting devises that are used to bring forth the overall theme of this film. Two devises that I have never seen used in a movie, until now.

The first is the obvious. Bunuel successfully uses two different actresses to play the same role of Conchita. At first I thought perhaps it was going to be one of those 'twin' double-cross films where these two girls used this older wealthy man for all his money. I was wrong. Similar to the title of this film, this is a film about passions and desires. It divulges in the emotion of obsession, and the reaction a man can have on someone that he desperately and sexually desires. Mathieu is our possible victim in this story. While both are not the most interesting characters (both have flaws and troubles), they do provide some structured characters. Mathieu is willing to give up everything for this woman that he hardly knows, but is physically attracted to her. It is hard to say that he loves her, but he does lust for her. The dual role of Conchita in this film is used for two purposes. The first is as a distraction, while the second is emotion. Both Conchitas are different in their own way and are used to push forward the story. Whenever Bunuel needed to convey a different emotion, he would bring in the actress that best represented that emotion. At first it was confusing, but as the film progressed you began to see less and less separate actresses, but instead as one character. It is impressive how Bunuel created this illusion.

As I mentioned above, there were two devises that I have never seen in a movie before. I explained above about the use of two women for one female role, but the second is a bit subtler. I briefly mentioned it above about how these two women (one character) were used to distract. If you pay attention to the film terrorism is a big part of the universe surrounding Mathieu. While he pines continually for Conchita, the world around him is falling apart. Bombings and deaths are at an all time high, yet he doesn't really seem to notice this. He is so caught up in Conchita that it seems like nothing else exists. He is oblivious to his surroundings. In fact, I would go so far as to say that we are also oblivious to the surroundings. Bunuel does this job of keeping our eye focused on the interchanging women that we sometimes forget or miss the actions surrounding this film. I believe that Bunuel is trying to prove the point that obsession does obscure your vision. It blurs your eyes and forces you to miss crucial elements of your surroundings. It isn't until the end when we are reminded violently of the truth surrounding our characters. I felt that Bunuel was slapping me in the face with that final scene. I had nearly forgotten myself of the terrorism outside, but easily he reminded me.

This was a spectacular film that really opened my eyes to a completely new way of film-making. It reminded me of some of the early works of another favorite director of mine Francois Ozon. Both of these talented artists have their own way of creating a world and an emotion, and both do it with some of the most beautiful strokes of their mechanical brush. I would recommend this film to anyone that is willing to experience radical, yet provocative film-making at its best. You will be impressed.

I cannot wait to include this film in my collection to watch over and over again. Thanks to Criterion, they have provided a beautiful packaging to this obscure film.

Grade: ***** out of *****

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