Posts tagged luis bunuel.


Today’s news + views.

(via eyeprotein)

Anonymous asked: Bunuel's debut was Un Chien Andalou.

true, but i was looking at feature-length debuts. un chien andalou is a short film.


Hans Hillmann, film poster for Luis Bunuel, The Criminal Life of Archibaldo de la Cruz, 1955. Neue Filmkunst, Germany.

(via keyframedaily)


Top: L’angelus by Jean-Francois Millet, 1857-1859.

Bottom: Belle de jour by Luis Bunuel, 1967.

Ingmar Bergman: No other art-medium—neither painting nor poetry—can communicate the specific quality of the dream as well as the film can. When the lights go down in the cinema and this white shining point opens up for us, our gaze stops flitting hither and thither, settles and becomes quite steady. We just sit there, letting the images flow out over us. Our will ceases to function. We lose our ability to sort things out and fix them in their proper places. We’re drawn into a course of events—we’re participants in a dream… Sometimes while I’m dreaming I think: “I’ll remember this, I’ll make a film of it”—it’s a sort of occupational disease.

Luis Buñuel: If someone were to tell me I had twenty years left, and ask me how I’d like to spend them, I’d reply: “Give me two hours a day of activity, and I’ll take the other twenty-two in dreams… provided I can remember them.”

(via iwanttobelikearollingstone)

"His film is great; it’s like a good bathroom."

Luis Bunuel reviews Buster Keaton’s Battling Butler (1926)

The Exterminating Angel & Simon of the Desert | LACMA ›

Badass Luis Bunuel double feature @ LACMA 10/19


Belle de Jour (Dir. Luis Buñuel, 1967)


Simon of the Desert (1965)

(via ikaristwin)


Belle de Jour (Dir. Luis Buñuel, 1967)

The Discreet Charm of the Bourgeoisie (Luis Bunuel, 1972)

The Discreet Charm of the Bourgeoisie (Luis Bunuel, 1972)

The Discreet Charm of the Bourgeoisie (Luis Bunuel, 1972)

Films in 2013—#012 The Discreet Charm of the Bourgeoisie (Luis Bunuel, 1972)

“I don’t belong to anyone,” Conchita declares. “I belong to myself.” She would happily give herself to Mathieu, she tells him. But like Jean Arthur in Howard Hawks’ Only Angels Have Wings, Conchita is hard to get––Mathieu has to ask her. That is, he has to ask her in a way that respects her freedom to say no. Mathieu, who is privileged—but also constrained––by his wealth and by the power a patriarchal society accords to men, is unwilling or unable to treat Conchita as an equal. Instead, he repeatedly tries to obtain sexual favors from her by (literally or figuratively) buying them. Every time he treats her as an object, she walks out on him. To have sex with her, she insists, he has to win her. To win her, he has to change his outmoded way of thinking. But changing our ways of thinking, Buñuel reminds us, is what human beings find the most difficult thing in the world to do. Mathieu, failing to change, perversely keeps doing the one thing that guarantees that Conchita––whether out of perversion or principle––will refuse to satisfy him.

That Obscure Object of Desire By William Rothman