But it's not meant to be a dream, it's just a different world (or a parallel universe if one wishes). The film is most notorious for the beginning sequence of the razor across the eye.

It reminded me of a time in the late 80s when I was sitting on a bench at the Dallas Museum of Art waiting for my companion to return from the restroom and noticed that among the masterpieces there was hung a canvas with four squares of different colors painted on it. Change style powered by CSL.

It's just stupid. I can't remember the last time I was so disappointed in a film I was expecting to like or at least be challenged by. 37 out of 49 found this helpful Was it WHO painted it that made it view worthy? Un Chien Andalou /**** BY ROGER EBERT . The only point to be made in this movie is that there should be no point to be made.

It was accepted only that which struck us, regardless of the meaning ... We did not have a single argument. Today it is hard to disentangle the film’s influence from the wider influence of surrealism in general, though critics have found echoes of Un Chien Andalou in everything from advertising to music videos, horror movies to punk, David Lynch to Alfred Hitchcock and Roman Polanski (the nightmarishly grabby hands in Repulsion are a direct allusion). First shown in November 1930, it was received extremely coldly. 6 out of 11 found this helpful. "Un Chien Andalou" is amazing. Bunuel and Dali didn't meant to contrive a plot that could make sense. From there a parade of images and related vignettes pass across the screen: a hand crawling with ants attacking the female lead, Simone Mareuil; rotting donkeys on grand pianos (attached by ropes to confused clergymen); a crowd gathering in the street and an aimless cross-dressing young man on a bicycle, who then falls off the bicycle. He has nothing on his mind but his girlfriend.

Was this review helpful? So some ants crawl around on someone's hand and somebody slits an eyeball. It's hard to conceive of a time when film was at its most primitive state but the 1920s was just that; it was a time when people were still trying to understand how images could be used to penetrate people's deepest emotions. I'm not going to rate this film because all I can say is "What the heck?" In fact, I can't help but think that the film's creators, Salvador Dalí and Luis Buñuel, just created this movie as a way to laugh at intellectuals and wannabes who just ate this crap up and declared it to be "high art". This is sort of like a home movie based on dreams by a psychotic sadist--with no comprehensible plot, violent and repellent images (such as a close up of an eyeball being slashed by a razor, a severed hand laying in the street, a woman being run over, a pointless murder, etc.). 14 out of 29 found this helpful. I'm sure there is some meaning, somewhere, in this film but, my goodness, there's better ways to show them!!!! To be fair to Batcheff, the atmosphere on set must have been a little strange – Dalí spent most of his time pouring glue over the dead donkeys to enhance their “putrefaction”, also carefully hacking at their eye sockets and mouths “to make the white rows of their teeth show to better advantage.”Lorca’s testy reaction to the film had nothing to do with these gruesome details – he was annoyed because he thought that Batcheff’s character, who combines ridiculous slapstick behaviour with sinister sexual violence, was modelled on him. We see examples of this with the way he looks at her and then sees images of commitment, divorce, and priests carrying a burden over their shoulders like a dead mule. 2 out of 3 found this helpful 28 out of 44 found this helpful. A wonderful film non the less, you have to check this out whether or not you're a fan of Avant-Garde And the late Roger Ebert agreed??? We believe in Truth & Movies. Luis Bunuel said that if he were told he had 20 years to live and was asked how he wanted to live them, his reply would be: "Give me two hours a day of activity, and I'll take the other 22 in dreams--provided I can remember them." "Sitting comfortably in a dark room, dazzled by the light and the movement which exert a quasi-hypnotic power... fascinated by the interest of human faces and the rapid changes of place, [a] cultivated individual placidly accepts the most appalling themes...and all this naturally sanctioned by habitual morality, government, and international censorship, religion, dominated by good taste and enlivened by white humor and other prosaic imperatives of reality." Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. 1 out of 1 found this helpful Borne out of the reactionary precepts of Dada (1915 - 1920) -- itself a violent reaction against the evolution of the society of the times which had culminated in World War One, Surrealism strove to break the traditions and incorporate the subconscious into the conscious, a theory Andre Breton described in his Surrealist Manifesto of 1924. 3 out of 3 found this helpful.

An excellent intro to Bunuel's more mature work because his films are full of bizarre images that began here. Un Chien Andalou(1929) like the rest of Bunuel's early works experiments with use of film image and surrealism. Open the way to the irrational. 27 out of 34 found this helpful

This was the first film collaboration between Luis Bunuel and Salvador Dali.

A middle-aged man (Luis Buñuel) sharpens his razor at his balcony door and tests the razor on his thumb. Over time, and with the intercession of countless film school professors, the notion of "surreal" has morphed from something living to something dead, shelved.

This famous film starts in a dream-like sequence, a woman's eye (a cow's eye was actually used) is slit open and juxtaposed with a similarly shaped cloud obscuring .