Word: bunel
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Dates: during 1950-1959
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...does not believe her, it is understandable why the audience sometimes wonders about the credibility of the husband's behavior. Flimsy flashbacks and lack of continuity reinforce this weakness: The photography can also be criticized for rarely presenting a true white or black on the screen. But director Luis Bunel and photographer Garbriel Figueroa redeem themselves in the climactic scene where the husband's contact with reality slips and the camera sees the world through his eyes. The result is frightening. It also makes the end anticlimactic...
Even royal mistresses, such as Henri IV's Gabrielle d'Estrees (see color page), posed to show their full, solid voluptuousness revealed under the thinnest of gossamer veils. To hold a king's roving eye, Painter François Bunel the Younger needed all his Mannerist tricks: he shifted the focus endlessly within the frame, from head and face to breasts to Gabrielle's arched, elegant hand holding a ring, then to maidservant, and finally to Gabrielle's mirrored profile, which disobeys all known laws of reflection...
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