sevdakarababa-71077 I watched every thing in that short movie. I tried to find Salvador Dali's art pieces in every where. So many figures, weird things and definitly art included and kind of horror, erotic story. Eye slicing was very shocking. Kind of they had "serial killer mind".

calvinnme I'm not going to rate this film because all I can say is "What the heck?" - That's the G rated version of what I said. This very late silent is on the list of films people must see before they die? And the late Roger Ebert agreed??? It reminded me of a time in the late 80s when I was sitting on a bench at the Dallas Museum of Art waiting for my companion to return from the restroom and noticed that among the masterpieces there was hung a canvas with four squares of different colors painted on it. That's it. Nothing interesting done with perspective or lighting. A five year old could have done it if they could have managed to paint within the lines. How did it get here? Was it WHO painted it that made it view worthy? I didn't bother to go over and find out, so I can't tell you. I'd just say that this film reminds me of that. So some ants crawl around on someone's hand and somebody slits an eyeball. How does any of this relate to the human experience? I can't remember the last time I was so disappointed in a film I was expecting to like or at least be challenged by.I get that it's not really trying to make a point. Surrealism as Dali and Bunuel were interested in it at that point wasn't about anything, wasn't making a statement, it's just a stream of (dream) consciousness/series of images intended, if anything, to baffle and/or upset the bourgeoisie. They succeeded. I'm pretty much bourgeoisie and I was baffled.

writers_reign From what I had read and heard about both this and L'Age d'Or over the years I had formed the impression that they were the original 'nouvelle vague' ergo there is nothing new under the sun. This week they were offered as a double bill so I figured I may as well get it over with. I was right, or at least in my opinion I was right, and this was an early example of attention-seeking by a couple of precocious egotists who'd been frightened by Freud's Interpretation of Dreams and decided to pile up as many bizarre unconnected images as they could and then run a camera over them. The beauty of such an approach of course is that it can mean anything the Pseuds and Academics want it to, it can also mean, of course, time squandered in the cinema that could have been spent twiddling your thumbs.

Joseph Pezzuto "Once upon a time..." Spanish director Luis Buñuel's directorial debut 'Un Chien Andalou' (An Andalusian Dog), collaborated with the prominent artist and close friend Salvador Dali, is a seventeen-minute silent, stark and surrealist film. Initially released in 1929 with a limited showing at Studio des Ursulines in Paris, the film became popular and ran for eight months afterwards. After eight, nearly nine decades, does the short still manage to provoke rather that to please? Let's take a look.The idea for this film arose at the time when Buñuel was working as an assistant director for Jean Epstein in France. Buñuel told his then-inseparable friend in a restaurant one day about a dream he had in which a cloud sliced the moon in half "like a razor blade slicing through an eye." Dali then responded that he had dreamed of a hand crawling with ants. He would later go on to paint this in one of the most renowned and famous works or surrealist art 'The Persistence of Memory" in 1931, in which one can see in the lower left corner of the portrait an orange clock covered in black ants meant to represent decay. Excitedly, Buñuel responded to Dali, "There's the film, let's go and make it!" The entire film plays out as a dream, albeit not a pleasant one, as uncanny images appear and disappear only to be followed by even more bizarre ones moments afterwards: a thinly-veiled cloud cuts across the moon as a straight razor cuts through the eye of a middle-aged woman (Simone Mareuil), although it was actually a calf's eye in reality. A cross-dressing nun on a bicycle, a severed hand lies in the street as spectators look on; a young woman allows herself to get run over; ants crawl out of a hole in a human hand; a Death's-head Hawkmoth flutters on the wall; a young man (Pierre Batcheff) pulls a rope of which attached are two tablets of stone (the Ten Commandments), two confused priests (one of them Dali) and two pianos atop which lie rotting donkey corpses. This represents the young man's religion of him trying to pursue the woman but that it gets between them and the dead livestock represent that their relationship could only end in the same manner as the unfortunate beasts of burden. Many gaps of time play throughout the picture as well, as we jump from one point to another without really knowing where we are or how we got there. All we as the audience can do is wait the horrorshow to run its course, one of which we wish would end but somehow is a place we can't look away from nor forget.The audacious but cautious young director had previously filled his pockets with stones to throw at the audience upon his film's completion so that he could make a clean getaway. However, Buñuel's film was praised upon its first debut in Paris. Dali and Buñuel became the first filmmakers to be officially welcomed into the ranks of the Surrealists by the movement's leader André Breton. Mocking everything right and proper in art at the time, 'Un Chien Andalou' broke barriers on a new ground of filmmaking for aspiring auteurs to create new ideas to shock and stun with the power of cinema. Dali left Buñuel due to disagreements on the director's next project 'L'Age d'or' (1930), but Buñuel had made his first provoking picture and his reputation onwards would eventually make him one of Spain's most famous and respected directors.