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 »
Toledo in the 30s: The godfather of cinematic surrealism, Luis Buñuel, the poet Federico Garcia Loca and the painter Salvador Dalí are on a search for the mythical table of King Salomon, ... See full summary »
El Gran Wyoming,
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 »
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.
Different people explain in this fine documentary how Luis Buñuel started to invent surrealist cinematic imagery and why he wanted to shock people and why he despises organized religion, faith and of course certain bourgeoisie. The importance of Toledo (to Jose Bello, Dali, Buñuel and Lorca) is explained and what impact Velazquez, Goya and Cervantes had in Buñuel's films. Also explained is why the acting in his films is always sober and never over-acted (i.e. use of eyebrows and nodding etc.). Although it is in chronological order from birth to death, it somehow does not feel complete. But a documentary can't really fathom ALL essential factors in the life and work of such an icon in cinema in 98 minutes, when 8 minutes are spent on how Buñuel used to drink his Martini's.
'I discovered cinema in 1908 as an attraction at the carnival: a simple technical discovery. But it was the invasion of something totally new in our Medieval universe.'
More than twenty friends, actors, cinematographers, family and writers are interviewed and there are many excerpts from most of Buñuel's films. Luis Bunuel even has some screen time as he is interviewed (that must be at least 18 years before the making of this documentary). I was disappointed that neither cinematographer Edmond Richard, who shot Bunuel's last three films and Le Proces (Welles, 1963), wasn't interviewed nor Fernando Rey. Another flaw is that Buñuel is made into a hero, while he made mistakes too: e.g. why was it that he never worked with Dali again after l'Age d'or? Wasn't that because of major differences in the visual ideas of Buñuel and Dali? The riot over l'Age d'or is illustrated though. I was delighted to see that the emphasis in this documentary is on Buñuel as a person and on his surrealist freedom. If you like one or more of the films by Buñuel, you will want to see this (twice).
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