A surreal, virtually plotless series of dreams centered around six middle-class people and their consistently interrupted attempts to have a meal together.
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.
Director:
Luis Buñuel
Stars:
Fernando Rey,
Carole Bouquet,
Ángela Molina
Shortly after her mother's death, an innocent and youthful woman will find refuge into the household of her middle-aged aristocratic guardian, who will submit her to his sexual advances.
Director:
Luis Buñuel
Stars:
Catherine Deneuve,
Fernando Rey,
Franco Nero
A group of juvenile delinquents live a violent and crime-filled life in the festering slums of Mexico City, and the morals of young Pedro are gradually corrupted and destroyed by the others.
Two drifters go on a pilgrimage from France to Santiago de Compostela in Spain. Along the way, they hitchhike, beg for food, and face the Christian dogmas and heresies from different Ages.
Director:
Luis Buñuel
Stars:
Paul Frankeur,
Laurent Terzieff,
Alain Cuny
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 »
Director:
Luis Buñuel
Stars:
Jeanne Moreau,
Georges Géret,
Michel Piccoli
Simon, a deeply religious man living in the 4th century, wants to be nearer to God so he climbs a column. The Devil wants him come down to Earth and is trying to seduce him.
A surrealist tale of a man and a woman who are passionately in love with each other, but their attempts to consummate that passion are constantly thwarted by their families, the Church, and bourgeois society.
Director:
Luis Buñuel
Stars:
Gaston Modot,
Lya Lys,
Caridad de Laberdesque
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 <ecannon@mail.utexas.edu>
Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »
Goofs
After Rafael gives the terrorist champagne, his position in the chair changes between shots. See more »
Quotes
[François Thévenot has unknowingly interrupted an illicit rendezvous between his wife and Rafael Acosta]
M. Thévenot:
Coming home with me?
Simone Thévenot:
Yes.
Rafael Acosta:
No, no, wait. Let her stay just two minutes more. I must show her the sursiks.
M. Thévenot:
What?
Rafael Acosta:
The sursiks.
M. Thévenot:
Ah, yes. I'll wait in the car.
Simone Thévenot:
I'll come right away.
[François Thévenot leaves]
Simone Thévenot:
What are sursiks?
[...] See more »
A satire on everyone who's too big for their boots (or secretly wants 2 B), because they will not achieve the aims they pursuit and are ultimately doomed to be separated from their privileges when they wake up to reality. The story may also come across as remote parody on The Last Supper, but from the bourgeois point of view (who never really get their supper), in contrast with 'Viridiana' (1961, Buñuel), where the poor and disabled DO get their Last Supper. But I don't know much about the bible, so I'm probably wrong about that. It proves though that you don't have to be pious to appreciate Buñuel's films; in fact, you'd better NOT be.
The 'adventure' of the protagonists is a proverbial sinking ship, because they seem to know what they want, but never reach their goal, which is quite simple and basic (to eat), because they're so caught up in supposed etiquette. They have all kinds of knowledge about manners and gestures, but they cannot sit down and eat. That is actually a fairly clear message: 'look before you leap' or 'behold the priorities of life'.
What's more indiscrete: drinking a martini the wrong way, or selling cocaine abusing your position as an ambassador and fooling around in the garden while you're having friends over for diner? And are you ultimately discrete simply because nobody discovers your subversive or criminal actions? These guys just can't control their carnal and financial lust, while complaining: 'No system can give the masses the proper social graces. But you know me, I'm not a reactionary.' Blah.
Cinematographer Edmond Richard (Le Procès (1963, Welles), Fantôme de la liberté, Cet obscur objet du désir) exhibits his excellent collaboration with Buñuel's visions. Buñuel tried before to make it easier for audiences to understand the imagery by incorporating it in a dream sequence (e.g. Tristana, 1970), but he returns here (as in Belle de Jour, 1967) to the early days (1930) where the dream sequences were just put forward as if they were reality. You'll never know what is a dream and what is real. As always, there is no music here to guide you, apart from the ringing church bells. Just open up your ears and clean out your eyes and you'll not be disappointed.
One last remark: the cover of the video is definitely one of the most applicable and distinctive covers (Ferracci) ever made, as is the cover of 'Fantôme de la liberté' (an odd-faced statue of liberty with a limp torch) by Jean-Paul Commandeur and the cover of 'Cet obscur objet du désir'. Buñuel didn't worry about the surrealism in his own life. He seemed to live in harmony with all his contradictions and hypocrisy.
10 points out of 10 :-)
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A satire on everyone who's too big for their boots (or secretly wants 2 B), because they will not achieve the aims they pursuit and are ultimately doomed to be separated from their privileges when they wake up to reality. The story may also come across as remote parody on The Last Supper, but from the bourgeois point of view (who never really get their supper), in contrast with 'Viridiana' (1961, Buñuel), where the poor and disabled DO get their Last Supper. But I don't know much about the bible, so I'm probably wrong about that. It proves though that you don't have to be pious to appreciate Buñuel's films; in fact, you'd better NOT be.
The 'adventure' of the protagonists is a proverbial sinking ship, because they seem to know what they want, but never reach their goal, which is quite simple and basic (to eat), because they're so caught up in supposed etiquette. They have all kinds of knowledge about manners and gestures, but they cannot sit down and eat. That is actually a fairly clear message: 'look before you leap' or 'behold the priorities of life'.
What's more indiscrete: drinking a martini the wrong way, or selling cocaine abusing your position as an ambassador and fooling around in the garden while you're having friends over for diner? And are you ultimately discrete simply because nobody discovers your subversive or criminal actions? These guys just can't control their carnal and financial lust, while complaining: 'No system can give the masses the proper social graces. But you know me, I'm not a reactionary.' Blah.
Cinematographer Edmond Richard (Le Procès (1963, Welles), Fantôme de la liberté, Cet obscur objet du désir) exhibits his excellent collaboration with Buñuel's visions. Buñuel tried before to make it easier for audiences to understand the imagery by incorporating it in a dream sequence (e.g. Tristana, 1970), but he returns here (as in Belle de Jour, 1967) to the early days (1930) where the dream sequences were just put forward as if they were reality. You'll never know what is a dream and what is real. As always, there is no music here to guide you, apart from the ringing church bells. Just open up your ears and clean out your eyes and you'll not be disappointed.
One last remark: the cover of the video is definitely one of the most applicable and distinctive covers (Ferracci) ever made, as is the cover of 'Fantôme de la liberté' (an odd-faced statue of liberty with a limp torch) by Jean-Paul Commandeur and the cover of 'Cet obscur objet du désir'. Buñuel didn't worry about the surrealism in his own life. He seemed to live in harmony with all his contradictions and hypocrisy.
10 points out of 10 :-)