Luis Buñuel

Luis Buñuel – Viridiana (1961)

Synopsis:
After years in Mexican exile, Buñuel returned to his native Spain to make this dark account of corruption, which was immediately banned. A young nun, full of charity, kindness, and idealistic illusions about humanity, visits her uncle and tries to help some local peasants and beggars. But her altruism is greeted with ridicule and cruelty. Pinal gives a superb performance in the title role, and Buñuel’s clear-eyed wit is relentless in its depiction of human selfishness, ingratitude, and cynicism. The final beggars’ orgy – a black parody of the Last Supper, performed to the ethereal strains of Handel’s Messiah – is one of the director’s most memorably disturbing, funny, and brutal scenes. A masterpiece.
— Timeout. Read More »

Luis Buñuel – Le journal d’une femme de chambre AKA Diary of a Chambermaid (1964)

Quote:
This wicked adaptation of the Octave Mirbeau novel is classic Luis Buñuel. Jeanne Moreau is Celestine, a beautiful Parisian domestic who, upon arrival at her new job at an estate in provincial 1930s France, entrenches herself in sexual hypocrisy and scandal with her philandering employer (Buñuel regular Michel Piccoli). Filmed in luxurious black-and-white Franscope, Diary of a Chambermaid is a raw-edged tangle of fetishism and murder—and a scathing look at the burgeoning French fascism of the era. Read More »

Luis Buñuel – Le charme discret de la bourgeoisie AKA The Discreet Charm of the Bourgeoisie (1972)

Quote:
The guests arrive at the Senechal home for a dinner party, only to discover that the invitation had been given for the following evening. This miscommunication proves to be the first in a series of unusual events that invariably prevent the Thevenots (Paul Frankeur and Delphine Seyrig), the Senechals (Jean-Pierre Cassel and Stephane Audran), Don Rafael (Fernando Rey), and Florence (Bulle Ogier) from enjoying a meal together. An alternate plan to dine at a local bistro is foiled when a funeral wake for the restaurant owner is held in an adjacent back room. Read More »

José Luis Sáenz de Heredia & Luis Buñuel – ¿Quién me quiere a mí? AKA Who Loves Me? (1936)

Quote:
The singer Marta Velez decides to retire to make-up her marriage. Her husband, a vividor, tries to cheat her a large sum of money. Unable to get it, he thinks of a plan to kidnap his daughter and that the mother pay a ransom. Read More »

Luis Buñuel – L’Age d’Or aka The Golden Age [+Extras] (1930)


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Plot Outline :
Modot and Lys, simply called the Man and the Woman, are the lovers who allow nothing to prevent them from demonstrating their feelings for each other. They want to make love, but must first overcome a number of seemingly insurmountable obstacles: the church, bourgeois social etiquette, and their own psychological handicaps.
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Luis Buñuel – Viridiana (1961)

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Viridiana, a young novice about to take her final vows as a nun, accedes to a request from her widowed uncle to visit him. Moved purely by a sense of obligation, she does so. Her uncle is moved by her resemblance to his late wife to attempt to seduce Viridiana, and tragedy ensues. In the aftermath, Viridiana tries to assuage her guilt by creating a haven for the destitute folk who live around her uncle’s estate. But from these good intentions, too, comes little good. Read More »

Luis Buñuel – Un chien andalou (1929)

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In a dream-like sequence, a woman’s eye is slit open–juxtaposed with a similarly shaped cloud obsucuring the moon moving in the same direction as the knife through the eye–to grab the audience’s attention. The French phrase “ants in the palms,” (which means that someone is “itching” to kill) is shown literally. A man pulls a piano along with the tablets of the Ten Commandments and a dead donkey towards the woman he’s itching to kill. A shot of differently striped objects is repeatedly used to connect scenes. Written by Ryan T. Casey Read More »