Soon more visual artists became involved, including Giorgio de Chirico, Max Ernst, Joan Miró, Francis Picabia, Yves Tanguy, Salvador Dalí, Luis Buñuel, Alberto Giacometti, Valentine Hugo, Méret Oppenheim, Toyen, and later after the second war: Enrico Donati.

When Luis Buñuel died at age 83, his obituary in The New York Times called him " an iconoclast, moralist and revolutionary who was a leader of avant-garde surrealism in his youth and a dominant international movie director half a century later.

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

It was Buñuel's intention to shock and insult the intellectual bourgeoisie of his youth, later saying: " Historically the film represents a violent reaction against what in those days was called ‘ avant-garde ,’ which was aimed exclusively at artistic sensibility and the audience ’ s reason .” Against his hopes and expectations, the film was a huge success amongst the French bourgeoisie, leading Buñuel to exclaim in exasperation, " What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate impassioned call for murder?

Kessel wrote several novels and books that were later represented in the cinema, notably Belle de Jour ( by Luis Buñuel in 1967 ).

His later films, such as The Cannibals and Belle Toujours ( a sequel to Belle de Jour ), suggest an affinity with Spanish filmmaker Luis Buñuel.

It is recognised for developing thriller techniques in cinema, later adopted by Alfred Hitchcock and Fritz Lang, and avant-garde cinema, inspiring Luis Buñuel and others.

His brilliant performance in the role of a demotivated and doubtful actor in Juan Antonio Bardem's Cómicos ( 1954 ), while showing him for the first time in a successful lead part, paradoxically, as he saw himself as the real incarnation of the role, plunged him in a professional depression, of which he did not emerge until his collaboration with Luis Buñuel several years later.

Spanish actor Fernando Rey ( who frequently worked with Buñuel in his later years ) plays Mathieu, but his voice is dubbed by Michel Piccoli.

Filmmaker Mikhail Vartanov has said, " besides the film language suggested by Griffith and Eisenstein, the world cinema has not discovered anything revolutionarily new until the ' Color of Pomegranates ,' not counting the generally unaccepted language of the ' Andalusian Dog ' by Buñuel "

In 2009, in an interview with Charlie Rose, del Toro described his Roman Catholic upbringing as excessively " morbid ," saying " I mercifully lapsed as a Catholic, I say, but as Buñuel used to say, " I'm an atheist, thank God.

" Though insisting that he is spiritually " not with Buñuel " and that " once a Catholic, always a Catholic, in a way ," he followed by saying, " I believe in man.

: I wish Buñuel was still alive.

For many years ( and still ), published and unpublished reports have circulated that Buñuel had used a dead pig ’ s eye, or that of a dead sheep, or of a dead donkey, or other animal, in the notorious eyeball-slicing scene.

However, in an interview in 1975 or ’ 76, Buñuel claimed that he had used a dead calf ’ s eye.

L ’ Age d ’ or (), The Golden Age ( 1930 ), directed by Luis Buñuel, is a Surrealist comedy about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church ; the screenplay is by Salvador Dalí and Buñuel.

L ’ Âge d ’ or began as the second artistic collaboration between Luis Buñuel and Salvador Dalí, who had fallen out by the time of the film ’ s production.

) Deisler ’ s lyrics, in contrast, focus on the existentially absurd, often combining absurdly unexpected pairings ( such as making Richard Petty the subject of a surreal Luis Buñuel film ) as well as pitiable, sometimes lovable characters bewilderingly unaware of their own absurdity and oddness ( Example: Wendell the Uncola Man ).

Later in the same year she had a role in Luis Buñuel ’ s Phantom of Liberty.

James Knowlson has suggested images from Luis Buñuel ’ s 1928 film, Un chien andalou or a photograph by Angus McBean of Frances Day but there is no clear evidence to support either.

made moviemaking seem necessary to me … It was the urgency of what Buñuel ’ s L ’ Âge d ’ or was about, this passionate affair ending in disaster.

Gutiérrez ’ s first widely successful feature, Muerte de un burócrata ( Death of a Bureaucrat ) ( 1966 ) introduces itself as a sort of homage to the history of cinematic comedy, and includes direct allusions to the work of Buster Keaton, Laurel & Hardy, Luis Buñuel, and many others.

In the 2011 film Midnight in Paris the main character, Gil ( Owen Wilson ), travels back in time to 1920s Paris and suggests a story to a perplexed young Buñuel ( Adrien de Van ) about guests who arrive for a dinner party and can ’ t leave.

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

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.

In the 1950s, it was used as a set for the film Los Olvidados, by Luis Buñuel.

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.

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.

In 2004, Jim Emerson wrote that Prince of Darkness was an undervalued horror film: " What makes me goose-pimply about Prince of Darkness is its goofy-but-ingenious central conceit and its truly Surrealistic imagery, some of which could have sprouted out of Buñuel and Dali's Un Chien Andalou.

" Her work for Buñuel would be her most famous.

In spite of varying interpretations made since the film originated, Buñuel made clear throughout his writings that, between Dalí and himself, the only rule for the writing of the script was: " No idea or image that might lend itself to a rational explanation of any kind would be accepted.

Despite this variety, filmmaker John Huston believed that, regardless of genre, a Buñuel film is so distinctive as to be instantly recognizable, or, as Ingmar Bergman put it — not entirely approvingly — " Buñuel nearly always made Buñuel films.

Through the film, Dalí and Buñuel became the first filmmakers to be officially welcomed into the ranks of the Surrealists by the movement's leader André Breton, an event recalled by film historian Georges Sadoul: " Breton had convoked the creators to our usual venue Café Radio ... one summer's evening.

The most famous experimental film is generally considered to be Luis Buñuel and Salvador Dalí's Un chien andalou ( 1929 ).

Buñuel then went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946.

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

* Un chien andalou ( 1927 ) by Luis Buñuel and Salvador Dalí ( actually started when Buñuel and Dali discussed their dreams, then decided to start with two of them and make a film )

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

He filmed more than 200 movies, including Los Olvidados ( directed by Luis Buñuel ), John Ford's The Fugitive and The Night of the Iguana ( directed by John Huston ).

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

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

" This is the same soundtrack that Buñuel chose and played live on a phonograph during the original 1929 screening in Paris.

Diego Buñuel, filmmaker and host of the National Geographic Channel's Don't Tell My Mother series, is their grandson.

To us, Buñuel, big and athletic, his black eyes protruding a little, seemed exactly like he always is in Un Chien Andalou, meticulously honing the razor that will slice the open eye in two.

A neophyte cinéast, Buñuel overcame his ignorance of cinematic production technique by sequentially filming most of the screenplay ; the 63-minute movie is composed of most every foot of film exposed and dramatic sequence photographed.

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.

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.

As the dreams-within-dreams unfold, it appears that Buñuel is also playing tricks on his audience, as we try to make sense of the story.

Acín was a friend of film director Luis Buñuel and provided some of the money for Las Hurdes: Tierra Sin Pan ( 1932 ) and so is credited as co-producer of the film.

Belle de Jour () is a 1967 French drama film directed by Luis Buñuel and starring Catherine Deneuve, Jean Sorel, and Michel Piccoli.

It's a religion that permits sin, and Buñuel at the very deepest is one of the most moralistic directors but he does everything to the contrary.

Luis Buñuel is a principal exponent of this, especially in The Exterminating Angel.