Word: bunuel
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
Imagine Truffaut's Jules and Jim with Laurel and Hardy in the title roles. Imagine Bunuel's Tristana with a new screenplay by Henry Miller. Imagine-well, what's the point? There really isn't any way to anticipate the special charms of Get Out Your Handkerchiefs. This rhapsodic French comedy about men, women and sex is an honest-to-God original with its own challenging brands of humor, style and wisdom. It is the first revolutionary film to come out of France since the decline of the New Wave in the late...
Altman certainly is not the first director to make films that mock the fraudulent elements of his culture. One thinks immediately, for example, of Luis Bunuel, whose films consistently expose the sham and hypocrisy of latin bourgeois culture. Bunuel's attitude towards his subjects is different from Altman's, however, and the difference says something about the directors themselves, and about the societies that have produced them...
...Bunuel seems to take a perverse delight in pointing up bourgeois foibles; with a hint of a sneer, he rips away the veils of middle-class civilization and urbanity. His knocking down of social myths proceeds largely along the class lines so clearly defined in modern European consciousness. One gets a sense, watching a Bunuel film, that he's not only shattering myths, he's mounting a vaguely Marxist attack on false consciousness...
Belle de Jour. Arguably Luis Bunuel's most gripping study of eroticism, and certainly one of the old master's all-time achievements. This 1967 release documents the plunge of a stunning Catherine Deneuve into the abyss of masochism, highlighted by brilliantly filmed vignettes of surrealism and as bizarre plot twist, bringing Deneuve's wife of a Parisian physician (Jean Sorel) to the doors of a brothel for a job. Only his classic "Los Olivados" approaches the eeriness of the dream sequences in "Bell de Jour," and relative newcomers to Bunuel's work should mark down this Sunday's showing...
...time the movie is over, Dylan has amply demonstrated his contempt for a moviegoing audience. He borrows conceits from Bergman and Bunuel to show off his superficial knowledge of art-house movies. He strives for incoherence in the belief that pointless ambiguity can pass for an avant-garde aesthetic. He tries to arrive at dramatic truth by letting fuzzy conversations drag on interminably...