#Buñuelian

[impoliticwestie]

Better to have ink on one's hands than the blood on the mouths those who have been kissed by her in times of peace, war, and our own revolutions.

[quarantineddreamer]

I've investigated about the poster and this is what the artist (Isidro Ferrer) who designed it says:

The official poster for 2022 presents an image where the protagonists are a man dressed as a bird and an egg; a creation that ignores direct references to cinema and raises questions in the viewer, but which for its author “embraces a very Buñuelian (*) surrealist spirit.”

The work has a high dream component and appeals directly to the universe of creation, fantasy and magic; As its creator explains, “the egg symbolizes the origin of being, perfection and creation. It also represents the world and the Universe.” Regarding the bird, it is “a celestial symbol” that in some civilizations represents intelligence and wisdom, “that is why shamans and indigenous leaders dress with bird feathers,” says Ferrer. The union of both elements is something that can be observed in mythologies around the world, from Egypt to India, passing through Oceania; “The egg of the world is a mythological and cosmogonic theme that symbolically represents a beginning of some kind,” he concludes.

(*) he's referring to Luis Buñuel, a very important Spanish filmmaker ... he also lived in Mexico as a refugee

___________

That'd sum up the concept, I guess?

Sigel, I love you so much for looking this up 💜

Really interesting. I am not surprised whatsoever to find that it has a beautiful meaning to it. (Though my first thought when I saw it—for literally no particular reason—was: this has “Waiting for Godot” vibes; and also: I find this bird dude a bit haunting)

[moviesandmania]

AN EXQUISITE MEAL (2020) Preview and release news

AN EXQUISITE MEAL (2020) Preview and release news

‘What the hell is in the oven?’ An Exquisite Meal is a 2020 American “dark comedy arthouse thriller western satire” film based around a Buñuelian dinner party. Written and directed by Robert Bruce Carter, making his feature directorial debut. Produced by Josh Itzkowitz and Curtis Matzke. The Objay Dart Films production stars Mike Jimerson, Amrita Dhaliwal, Victoria Nugent, Ross Magyar, Bassam…

[natehoodreviews]

400 Words on STRAY DOGS [2013] ★

Is Stray Dogs one of Tsai Ming-liang’s most uncompromising, inaccessible outings? The film certainly seems a defiant distillation of things traditional audiences would find off-putting or tedious. Eschewing traditional narrative storytelling, the film is mostly comprised of vignettes of a homeless family scrounging to survive in Taipei. During the day the father (Lee Kang-sheng) earns food (and booze) money by acting as a living real estate billboard next to a busy intersection while his son Yi-cheng (Lee Yi-cheng) and daughter Yi-chieh (Lee Yi-chieh) explore the city’s skeleton. Filmed mostly in static long takes, these vignettes need not be interpreted as happening in chronological order; indeed, they can be interpreted as an almost Cubist dissection of urban poverty, examining individual moments in time as disparate rays of light from a prism. Equal time, weight, and consideration are given to shots of urinating and defecting as scenes of eating or sleeping. The film strives to make its audience experience life as its characters do, so disassociated from society that they merge with the landscape. It’s only in the last act when anything approaching a “plot” arises when a sympathetic grocery store cashier (simultaneously played by three different actresses in a head-scratching Buñuelian flourish) adopts the family, moving with them into an abandoned mansion that seems to have weathered an apocalypse. Not that her presence has much effect on the family—they continue to exist largely as they did before, trapped in a prison of their own despair. Returning to what I asked before, if Stray Dogs isn’t Ming-Jiang’s most inaccessible film, then it’s perhaps his most audience hostile. We see here none of the youthful rebellion of Rebels of the Neon God (1992), the musical reprieves of The Hole (1998), or the shock humor of The Wayward Cloud (2005). It’s two hours of mind-numbing hopelessness, emphasis on “mind-numbing.” Even as a defender of Ming-liang’s work, I find nothing in Stray Dogs to redeem its ludicrous pretentiousness. I remember the scene that lost me: the father pantomimes smothering a life-sized mother doll made by his children, eats its lettuce head, and bursts into tears. Because urban ennui, I guess? And no, that last thirteen-and-a-half minute static shot of the father and the woman staring at a painting without moving or talking? It wasn’t brilliant. It was punishment.

[reportwire]

Somerville is a worthy spiritual sequel to Limbo and Inside

Somerville is a worthy spiritual sequel to Limbo and Inside

The first thing you should know about Somerville, the spiritual sequel to Limbo and Inside, is that the story makes sense. Its predecessors lived on the far end of the narrative spectrum, somewhere between ���Buñuelian nightmare” and “that time you smoked salvia in college and disassociated while reading Orwell.” But Somerville, well, it’s a bit normal. At first. The Somerville elevator pitch needs…

[cultfaction]

An Exquisite Meal trailer released

An Exquisite Meal trailer released

A sharply satirical genre-bending journey through one absurdly terrifying dinner party in modern America, An Exquisite Meal is a darkly playful Buñuelian nightmare that’s full of punchlines and twists. An affluent couple hosts a dinner party for friends, promising them an amazing meal. As the night goes on, uninvited guests arrive, wine flows, and dinner is strangely delayed. When the party is…

[filmstruck]

DEATH IN THE GARDEN (’56) by Nathaniel Thompson

“I don’t direct film on subjects of my own choosing; among several that may be proposed I select the one that convinces me and that I can rework. Conceivably, I may introduce some irrational elements – under cover of a dream – but never anything symbolic.”

Director Luis Buñuel wasn’t referring to any particular project when he made that statement in a 1955 interview with François Truffaut, but it’s a fascinating comment when you bear in mind he was about to undertake DEATH IN THE GARDEN (’56, originally released as LA MORT EN CE JARDIN from the eponymous novel by José-André Lacour). Once thought a dangerous and rebellious artistic presence by the powers that be in France, Buñuel returned to the country in 1956 and, in typical whirlwind fashion, made this film back to back with the lesser-seen THAT IS THE DAWN, or CELA S’APPELLE L’AURORE, the same year. A Mexican co-production shot in areas around Mexico City, DEATH IN THE GARDEN was heavily rewritten before it went before the cameras due to the extreme hands-on approach by its multiple French producers who called the shots on casting and budget choices.

One positive concession that came out of the process was the casting of the great Michel Piccoli as Father Lizardi, the most Buñuelian character in the film. An underrated character actor able to project wry wit, perversity or intense tragedy with a simple glance, Piccoli was the secret weapon of many directors including Marco Ferreri, Jean-Luc Godard, Jacques Demy and Louis Malle among others, but Buñuel really brought something extra special out of him. Piccoli is the one you remember here, and the director must have been impressed since they would continue to work together all the way through Buñuel’s twilight years, including the classic episodic trilogy of THE MILKY WAY (’69), THE DISCREET CHARM OF THE BOURGEOISIE (’72) and THE PHANTOM OF LIBERTY (’74). However, the Buñuel film that most closely resembles this one in its use of Piccoli may be BELLE DE JOUR (’67), in which he plays the particularly savvy best friend who figures out Catherine Deneuve’s secret afternoon vocation before anyone else and isn’t above playing silly lunch games under the table.

Despite its partially French origins and the director’s pedigree, DEATH IN THE GARDEN initially ran only in Spanish-language theaters in much of the United States. It made little impact at the time, but it was submitted for Oscar consideration under the title GINA, a more accessible name given to the character Djin played by Simone Signoret. Normally a film starring the legendary French thespian would be given a splashy welcome in art houses, especially given the fact that DIABOLIQUE had just caused a splash in late 1955 in American cinemas, but this film didn’t have a particular hook that could lure in more than the die-hard cineastes in larger urban areas. Since then it’s remained more of a footnote in Buñuel’s career and barely earns a mention (if it’s even referenced at all) in the numerous biographies and critical surveys that have appeared over the years. Even the few reviewers who have tackled it on its handful of repertory screenings have been somewhat indifferent; for example, former New York Times critic Vincent Canby called it “a kind of halfway house for the film genius, made when he had yet to receive the acclaim that would give him full control of his movies but after he had been taken seriously enough by the money men to be entrusted with an expansive movie with big stars.”

Don’t be deceived though. This may be minor Buñuel, inarguably so, but it’s a sneaky and rewarding one. It’s an early example of the “one thing after another” approach you can find in some of Buñuel’s most famous films, with characters repeatedly butting against irrational or at least improbable obstacles that seem designed by a particularly prankish deity. That’s here in spades in the adventures of our protagonist, Chark (Georges Marchal), or “Shark” in some prints, who ends up tromping through the jungle after a string of betrayals and romantic twists that get him labeled as a dangerous revolutionary. The act of violent anarchy he commits is also akin to the random bouts of terrorist anarchy that would randomly punctuate the narratives of later Buñuel films, while the jungle trek that forms the main body of the film racks up a higher body count than you would normally expect from either the director or this particular vintage.

If you look closely, you’ll also notice that this is a real Tower of Babel of a film. Some of the Mexican supporting actors and extras appear to be phonetically speaking lines written in French which were then dubbed in later by others; the principals are speaking French with their own voices, and a handful... well, I’m not sure what they were speaking, but it has nothing to do with the words coming out of their mouths. It’s a dislocation far more common to Italian films than French or Spanish ones, though it isn’t unheard of; you can find a similar effect in Buñuel’s TRISTANA (’70), which features Fernando Rey visibly slipping between French and Spanish throughout while his voice sticks with one depending on the version you watch.

Finally, it’s fascinating to see how much more overtly violent DEATH IN THE GARDEN is than the filmmaker’s usual approach, which tends to feature quick, isolated moments of grotesque imagery. Here we see lots of people being gunned down at regular intervals, and the sense of sweaty suffering becomes truly palpable in the last 40 minutes or so. Whether characters are being nipped by bugs or twisting ankles, you feel the pain and struggle here in a way that’s more sharply drawn than you might expect. The fact that it’s shot in vivid, blazing Eastmancolor makes the unsparing nature of the subject matter even more jarring: there’s something almost queasy and overripe about the way Buñuel used color in the ‘50s, such as his garish and borderline hallucinatory ROBINSON CRUSOE (’54). I wouldn’t say this is necessarily the best film to start with if you’re new to Buñuel, but if you’d like to see how he could take a preexisting property and give it his own unique spin, this one is just the ticket.

[porannarosa]

Verhoeven's Elle is the most Buñuelian thing I've seen since ... well...Buñuel

[criterioncollection]

Beloved for his inventive blend of physical humor and emotional warmth, French director-actor Pierre Etaix passed away last October at the age of eighty-seven. In the second installment of our video series Anatomy of a Gag, filmmaker and critic David Cairns celebrates the work of this comedic genius by examining one of his greatest sequences: the Buñuelian dreamscape of traveling beds in the 1969 marriage satire Le grand amour.

Le grand amour: Anatomy of a Gag

[margery65q810805-blog]

Mama Of Bride Manner Tips For The Special day

Do you feel that at times, you typically aren't doing the most ideal job you can as a mom? Great religious bodies likewise dated the abundant and also famous of the time for the same main reason as was the case along with St. Teresa from Avila that experienced much with these folks who handled her as a server, but then they were able to sponsor buildings as well as gifts which made the action feasible. There are many moms worldwide, each really good and also bad.Looking back at my adolescence phase, I made use of to believe my mom was actually mean today as a mom, I believe I am actually lucky to possess had a mama which presumed me virtues as well as readied me for becoming a mother at my beginning.

My mom was a research study in self-improvement, she actually worked her whole entire lifestyle trying to become a better person, and invest the final Three Decade from her lifestyle, in my opinion, ending up being near an angel listed below on earth. The film is quite Buñuelian, somehow and while I was watching the film I couldn't assist yet presuming that the director had actually possibly viewed the definitely excellent The Exterminating Angel (examined listed here) a handful of even more opportunities in comparison to was good for him (which, it turns out, was actually a little 'on the nose' because I only figured out that Aronosfsky is specifying that being one of his effects on the creation of this particular film).

She can easily likewise profit a new smart phone that could have high quality pictures, take exciting video recordings, scan the internet, in addition to keep her improved along with social networking websites without opening the notebook or computer system. The bright side: there are dozens from helpful parenting techniques that can easily obtain you just what you want (wonderful habits) while giving your youngsters just what they require (the option to become accountable, delighted as well as caring). The Judge of First Circumstances coincided the mommy as well as located that the arrangement was unenforceable because of present federal regulations and also the daughter would visit the mommy up until she arrived at the age of 13 years. Yes she was your mom but when giving a mother eulogy you still need to know that the listeners might feature little ones and also much older folks which understood your mommy and liked her yet they still have an interest period as well as eventually they are going to acquire worn out. He is going to after that learn how to take advantage of near-impossible tips from any kind of kind, accept any jobs on call - and also I suggest 'any sort of projects' like Great Depression http://ashleeptx68324090.myblog.de jobs including coffin brush, railroad brakeman, or circus roustabout.

[cecilsinclaire5-blog]

Girls In The Great Clinical depression.

LONDON (News agency) - UNITED STATE President-elect Donald Trump stated that Brexit will become a great thing and also other countries would certainly abide by Britain out of the European Association yet assured to attack a swift bilateral profession cope with the United Kingdom. This is actually necessary for you to perform this job right now to minimize any sort of sense of guilt that you might be residing with if your mom has passed on. All the females had terrific pleasure in their unique dishes at the religion alliance an evening meal and would certainly not be actually found lifeless with a recipe coming from the retail store.

We have blended two excellent brands, Family members Dollar, your community discount store; and also Dollar Tree where every thing is actually a dollar. Rebekah's magnificent trainings as a mama are actually, like the girls just before her, manifest by means of the lives from her children.

Julie Freeman is a Health care Lab Scientist along with 25 years adventure as well as mommy of 2 kids aged 6 and 2 years. I assumed possibly now he will manage to aid our team, but he was powerless to persuade my mom to hold down a task and stop distributing all our money. The film is actually fairly Buñuelian, somehow as well as while I was actually seeing the movie I could not help however thinking that the supervisor had actually maybe seen the definitely terrific The Annihilating Angel (assessed below) a few even more opportunities in comparison to was good for him (which, this appears, was actually a little bit 'on the nose' due to the fact that I only discovered that Aronosfsky is specifying this as one from his impacts on the creation of this particular movie).

Removable wall structure stickers are actually an excellent tip for any person planning to freshen up their walls along with some brand new layouts. Check out at all the wonderful Mama's Day blossoms on-line and observe which ones will definitely make the perfect healthanddiet.nl present for your Mommy. The mother is actually recovered in 3 to 4 times in a typical situation and also in 7 to 10 times in the event that from function. You can easily reside a far healthier as well as much more enjoyable life if you are in fantastic you are at all considering your health and wellness, this write-up is for you. I must draw a long time to see my mommy, given that merely seeming my mother may give me powerful sense from protection. If a female isn't really acquiring the interest she finds coming from her hubby (often due to the fact that he remains in the links of his personal controlling mama), she will transmit her devotions off her other half to her boy. When your mother opens her door and also is actually provided a terrific agreement, the appearance on her face is going to show her gratitude for how much you adore her. With such an excellent selection on offer and also such wonderful perks from going green along with eco welcoming products, nothing at all must hold you back from gifting all of them.

[natehoodreviews]

400 Words on PEPPERMINT FRAPPÉ [1967] ★★★½

Even if you didn’t know that director Carlos Saura intended for his film Peppermint Frappé to be an homage to his mentor Luis Buñuel, its similarities with the work of that great Surrealist are too numerous to be coincidental. Truthfully, it’s less an homage than an imitation, a careful consideration of how Buñuel would approach and engage with the story, in this case a psycho-sexual thriller about memory and identity. The result is a kind of Spanish reimagining of Alfred Hitchcock’s Vertigo (1958). The film tells the story of Julián (José Luis López Vázquez), a stuffy radiologist who falls in love with his old jet-setting friend Pablo’s new wife Elena. Convinced that he’d seen her previously while visiting Calanda during Holy Week, he nervously tries to reignite a relationship. But Elena insists that they’ve never met. Undeterred, Julián and Elena become friends, but their time together becomes more and more sinister as Elena and her husband start humiliating and playing pranks on him. Frustrated, Julián turns to courting his radiology assistant Ana, a mild-mannered, reserved young woman. After seducing her, Julián convinces Ana to start dressing and acting like Elena until—much like how James Stewart molded Kim Novak into the dead woman that haunted him—you can’t tell one woman from the other. This replicating of feminine identities is further emphasized by Saura’s casting of actress Geraldine Chaplin as both the blonde Elena and the brunette Ana. Indeed, we realize Ana’s transformation has finished when she finally dons a blonde wig. Eventually the tale ends in murder with Ana/Elena replacing Elena (and Pablo) in Julián’s life. The film’s fascination with the perverse sexual obsessions of the European upper classes is purely Buñuelian, as is its implicit critique of Spain’s cultural Catholicism: Julián’s devout Catholicism is ultimately (and ironically) corrupted by the erotic fantasy of a woman he encountered during Catholic Holy Week celebrations. Buñuel must have found Saura’s tribute flattering, as he would mimic the film’s central gimmick by inverting it in his final film That Obscure Object of Desire (1977), casting both Carole Bouquet and Ángela Molina as the same Sevillean flamenco dancer the protagonist spends the runtime attempting to seduce. (Buñuel claims to have thought of the casting trick himself while drinking martinis during pre-production, but it’s hard to imagine his admirer’s film wasn’t lurking somewhere in the back of his mind.)

[natehoodreviews]

400 Words on DEATH IN THE GARDEN [1956] ★★★½

From the outside looking in, Luis Buñuel’s Death in the Garden seems a pale imitation of a big budget American adventure film. This Mexican-French co-production, with its South American villages, rain-drenched jungles, and marooned European heroes, feels at times like a European answer to John Huston’s The African Queen (1951). After getting trapped in the middle of a populist uprising against a corrupt government takeover of a mining outpost, a band of mismatched misfits flee into the Brazilian rainforest. Two of the principle actors in particular feel like riffs on established Hollywood figures: with his beefy build, rough-hewn good looks, and no-nonsense attitude, adventurer Shark (Georges Marchal) feels occasionally like a French Kurt Douglas or Burt Lancaster; with her icy attitude, withering disdain, and sharp beauty, greedy prostitute Djin (Simone Signoret) appears a Buñuelian take on Marlene Dietrich. But despite appearances, Buñuel brings his particularly singular worldview to bear in this film, creating something that stands far apart from its proto-blockbuster predecessors. For starters, it demonstrates the Spaniard’s trademark hatred for authority, whether it comes from the state or the church (although, due to his Catholic background, in many of his films these two forces are one and the same). The government officials who seize the mine and hunt Shark, Djin, & co. are bizarrely aloof and detached in their cruelty. For them the slaughter of unarmed miners and the humiliation of local townspeople is positively blasé. (In one of Buñuel’s only surrealist flourishes in the film, a dead rebel is “executed” by firing squad to maintain appearances.) The local Catholic church is also portrayed as totally impotent, both incapable of stopping the exploitation of the natives and, one expects after watching them, unwilling as long as they aren’t good Christian converts. This is best demonstrated in Father Lizardi (Michel Piccoli), one of the jungle escapees who time and again commits the only true sin one can commit in a Buñuel film: trust in mankind’s better nature. In a running joke, Lizardi repeatedly “personally accounts” for people who turn traitor and betray him and his group. That’s he’s doomed to die for his foolishness in rejecting Buñuel’s misanthropic nihilism is a given from the moment we first see him. Though belonging to the oft-overlooked Mexican phase of Buñuel’s career, Death in the Garden is nonetheless as caustic and vicious as anything he ever made.