" Her work for Buñuel would be her most famous.

Her screen persona as " a cold, remote erotic object which dreams are made on " reached a peak, according to the critic Philip French, in her second Buñuel film Tristana ( 1970 ).

Buñuel was born in Calanda, a small town in the province of Teruel, in Aragón, Spain, to Leonardo Buñuel, the cultivated scion of an established Aragonese family, and María Portolés, many years younger than her husband, with wealth and family connections of her own.

Marie-Laure de Noailles, Vicomtesse de Noailles ( pronounced ) ( 31 October 1902-29 January 1970 ), was one of the 20th century's most daring and influential patrons of the arts, noted for her associations with Salvador Dalí, Balthus, Jean Cocteau, Man Ray, Luis Buñuel, Francis Poulenc, Jean Hugo, Jean-Michel Frank and others as well as her tempestuous life and eccentric personality.

She and her husband financed Ray's film Les Mystères du Château de Dé ( 1929 ), Poulenc's Aubade ( 1929 ), Buñuel and Dalí's film L ' Âge d ' Or ( 1930 ), and Cocteau's The Blood of a Poet ( 1930 ).

After marrying Gustavo Alatriste, a businessman who invited Spanish-born film director Luis Buñuel to direct Viridiana, a controversial film depicting a nun ( played by Pinal ) and her affair with the character played by Spanish actor Francisco Rabal.

The Exterminating Angel (), is the second of the Buñuel / Alatriste / Pinal film trilogy, written and directed by Spanish filmmaker Luis Buñuel, starring Silvia Pinal, and produced by her then-husband Gustavo Alatriste.

Buñuel wrote and directed Viridiana, which starred Silvia Pinal and was produced by her then husband, Gustavo Alatriste.

The film was admired by many 1960s counterculture figures, notably Grateful Dead guitarist Jerry Garcia, who financed a complete print, as well as Martin Scorsese, Francis Ford Coppola, and Luis Buñuel.

Buñuel would complete a trilogy of sorts working with Pinal and Alatriste in a third film released in 1965-Simon of the Desert.

Both filmmakers, Clair and Buñuel, experimented with editing techniques long before what is referred to as " MTV style " editing.

At the Residencia, he became close friends with ( among others ) Pepín Bello, Luis Buñuel, and Federico García Lorca.

In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film ( An Andalusian Dog ).

Also, in The Secret Life Dalí suggested that he had split with Luis Buñuel because the latter was a Communist and an atheist.

Her last films made abroad were Beyond All Limits ( Mexican-American production, 1957 ) with Jack Palance, Faustina ( Spain, 1957 ), Sonatas ( Spain, 1957 ) directed by Juan Antonio Bardem and La Fievre Monte a El Pao ( French-Mexican production, 1959 ) directed by Luis Buñuel.

Often associated with the Surrealist movement of the 1920s, Buñuel created films in six decades, from the 1920s through the 1970s.

In his youth, Buñuel was deeply religious, serving at Mass and taking Communion every day, until, at age 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth.

Buñuel was especially taken with Lorca, later writing in his autobiography: " We liked each other instantly.

After parting with Epstein, Buñuel worked as film critic for La Gaceta Literaria ( 1927 ) and Les Cahiers d ' Art ( 1928 ).

After this apprenticeship, Buñuel co-wrote and directed a 16-minute short, Un Chien Andalou, with Dalí.

'" In deliberate contrast to the approach taken by Jean Epstein and his peers, which was to never leave anything in their work to chance, with every aesthetic decision having a rational explanation and fitting clearly into the whole, Buñuel and Dalí made a cardinal point of eliminating all logical

The film, entitled L ' Age d ' Or, was begun as a second collaboration with Dalí, but, while working on the scenario, the two had a falling out ; Buñuel, who at the time had strong leftist sympathies, desired a deliberate undermining of all bourgeois institutions, while Dalí, who eventually supported the Spanish fascist dictator Francisco Franco and various figures of the European aristocracy, wanted merely to cause a scandal through the use of various scatological and anti-Catholic images.

Concurrent with the succès de scandale, both Buñuel and the film's leading lady, Lya Lys, received offers of interest from Metro-Goldwyn-Mayer and traveled to Hollywood at the studio's expense.

While in the United States, Buñuel associated with other celebrity expatriates including Sergei Eisenstein, Josef Von Sternberg, Jacques Feyder, Charles Chaplin and Bertolt Brecht.

All that was required of Buñuel by his loose-ended contract with MGM was that he " learn some good American technical skills ", but, after being ushered off the first set he visited because the star, Greta Garbo, did not welcome intruders, he decided to stay at home most of the time and only show up to collect his paycheck.

The opening sequence of the film alludes to that interpretation, by Dalí and Buñuel, with an excerpt from a natural science film about the scorpion, which is a predatory arthropod whose tail is composed of five prismatic articulations that culminate in a stinger with which it injects venom to the prey.

Ingmar Bergman achieves his greatness through thought and soul-searching, Alfred Hitchcock built his films with meticulous craftsmanship, and Luis Buñuel used his fetishes and fantasies to construct barbed jokes about humanity.

Interviews with Robert Bresson, Jean Renoir, Luis Buñuel, Howard Hawks, Alfred Hitchcock, Fritz Lang, Orson Welles, Michelangelo Antonioni, Carl Theodor Dreyer and Roberto Rossellini

The Discreet Charm of the Bourgeoisie () is a 1972 surrealist film directed by Luis Buñuel and written by Jean-Claude Carrière in collaboration with the director.

When Buñuel was just four and a half months old, the family moved to Zaragoza, where they were one of the wealthiest families in town.

This film influenced Dali and Buñuel, two key Spanish surrealists, when they made Un Chien Andalou ( 1929 ).

Buñuel plays tricks on his characters, luring them toward fine dinners that they expect, and then repeatedly frustrating them in inventive ways.

Influenced at his beginnings by Buñuel, Cocteau, the surrealists and by the Japanese cinema ( Seijun Suzuki, Ishirō Honda, Kōji Wakamatsu, Yoko Ono ), stunned by the Festival of the film expérimental of Knokke in 1967 and by May 1968, Roland Lethem wants to push the people to look at the things of which they say they are freed, it's to say to place them in front of their responsibilities.

Buñuel asks, " But why * can ’ t * they leave?

She was married to Pierre Batcheff ( 1901 – 1932 ), a French actor whose most famous film was Un chien andalou ( 1929 ) by Luis Buñuel and Salvador Dalí.

* España 1936 ( 1937 ) produced by Luis Buñuel

* Un Chien Andalou by Luis Buñuel and Salvador Dalí ( 1929 )

* L ' Âge d ' Or by Buñuel and Dalí ( 1930 )

* Luis Buñuel filmed La Ilusión viaja en tranvía ( English: Illusion Travels by Streetcar ) in Mexico in 1953.

Film maker Luis Buñuel reports that Clair was utterly horrified by the effectiveness of the film, crying out that this should never be shown or the West was lost.

Still from Un Chien Andalou a 1929 film by Luis Buñuel and artist Salvador Dalí

Friedkin had asked his casting director to get a Spanish actor he had seen in Luis Buñuel's French film, Belle de Jour, who was actually Francisco Rabal, but Friedkin did not know his name, and Rey, who had played in several other films directed by Buñuel, was instead contacted.

In the final vignette of L ' Âge d ' Or ( 1930 ), the surrealist film directed by Luis Buñuel and written by Buñuel and Salvador Dalí, the intertitle narration tells of an orgy of 120 days of depraved acts — a reference to The 120 Days of Sodom — and tells us that the survivors of the orgy are ready to emerge.

Un Chien Andalou (, An Andalusian Dog ) is a 1929 silent surrealist short film by the Spanish director Luis Buñuel and artist Salvador Dalí.

Simone Mareuil's eye being held open by Luis Buñuel in the opening scene.

The legendary shot of the eyeball ( actually that of a dead calf ) being slit by Buñuel.

For example, the rotting donkeys are a reference to the popular children's novel Platero y yo by Juan Ramón Jiménez, which Buñuel and Dalí hated.

Category: Films directed by Luis Buñuel

Episodes 1 and 4 were directed by Claude Chabrol ; episodes 2 and 3 by Luis Buñuel's son, Juan Luis Buñuel.

After being kicked and insulted by the study hall proctor before a final exam, Buñuel refused to return to the school.

Screenshot of the eyeball ( actually that of a dead calf ) being slit by Buñuel in the film Un Chien Andalou.