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Belle de Jour -- Luis Bunuel in high gear, with Catherine Deneuve. At the WEST END North Station...

Author: NO WRITER ATTRIBUTED | Title: Movies and Plays This Weekend | 11/15/1968 | See Source »

Belle de Jour--Luis Bunuel in high gear, with Catherine Deneuve. At the WEST END North Station...

Author: NO WRITER ATTRIBUTED | Title: Movies and Plays This Weekend | 11/8/1968 | See Source »

...Belle de Jour--Luis Bunuel in high gear, with Catherine Deneuve. At the WEST END, North Station...

Author: NO WRITER ATTRIBUTED | Title: Movies and Plays This Weekend | 11/1/1968 | See Source »

However, two fine shorts run the first forty-five minutes at the Brattle, and might alone be worth the price. Both are art-house standards, and worthily so. Luis Bunuel's first film, Un Chien Andalou (a 1928 collaboration with artist-entrepreneur Salvador Dali), will either fascinate or frustrate with its free-association stream of symbols. (If you get completely lost in these fifteen unusual minutes, just remember violence symbolizes sex, the dead mules on the piano symbolize sex, and ants symbolize masturbation.) Exploited sometimes as Bunuel's creation or more accurately as Dali's, Chien Andalou exhibits the most...

Author: By David W. Boorstin, | Title: Freaks | 9/24/1968 | See Source »

...that in its shaky moving shots and occasional harsh cuts. But anything made with any kind of style is good to see these days, given what Hollywood is releasing, and the pleasure of having a new Truffaut around is diminished only by the Boston release this week of Bunuel's Belie de Jour, and Chabrol's incredible The Champagne Murders, about which we will have more to say later...

Author: By Tim Hunter, | Title: The Bride Wore Black | 7/30/1968 | See Source »

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