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

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.

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

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 ).

Growing estrangement between García Lorca and his closest friends reached its climax when surrealists Dalí and Luis Buñuel collaborated on their 1929 film Un Chien Andalou ( An Andalusian Dog ).

A middle-aged man ( Luis Buñuel ) sharpens his razor at his balcony door and tests the razor on his thumb.

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

Even as a child, Buñuel was something of a cinematic showman ; friends from that period described productions in which Buñuel would project shadows on a screen using a Magic lantern and a bedsheet.

" Before long, Buñuel was working for Epstein as an assistant director on Mauprat ( 1926 ) and La chute de la maison Usher ( 1928 ), and also for Mario Nalpas on La Sirène des Tropiques ( 1927 ), starring Josephine Baker.

When Buñuel somewhat derisively refused to acquiesce to Epstein's demand that he assist Epstein's mentor, Abel Gance, who was at the time working on the film Napoléon, Epstein dismissed him angrily, saying " How can a little asshole like you dare to talk that way about a great director like Gance?

Late in 1929, on the strength of Un Chien Andalou, Buñuel and Dalí were commissioned to make another short film by Marie-Laurie and Charles de Noailles, owners of a private cinema on the Place des États-Unis and financial supporters of productions by Jacques Manuel, Man Ray and Pierre Chenal.

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.

Later, on 3 December 1930, the great popular success of the film provoked attacks by the right-wing Ligue des Patriotes ( League of Patriots ), whose angry viewers took umbrage at the story told by Buñuel and Dalí.

) 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 ).

An eclectic group of artists, filmmakers and activists protested, to little avail, on behalf of Parajanov, among them, Yves Saint Laurent, Françoise Sagan, Jean-Luc Godard, François Truffaut, Luis Buñuel, Federico Fellini, Michelangelo Antonioni, Andrei Tarkovsky, and Mikhail Vartanov ).

Notable examples include Kathryn Bigelow, Curtis Harrington, Peter Greenaway, Derek Jarman, Jean Cocteau, Isaac Julien, Sally Potter, David Lynch, Gus Van Sant and Luis Buñuel, although the degree to which their feature filmmaking takes on mainstream commercial aesthetics differs widely.

Inspired by a story of a young Luis Buñuel once contacting successful film director Jean Epstein to ask for a job in filmmaking, Panahi left a message on Abbas Kiarostami's answering machine, stating that he loved his films and asking for any job on his next film.

He and his wife went to Mexico where he worked on scripts for directors Luis Buñuel and Carlos Velo.

The lyrics are based on a surrealist film by Luis Buñuel and Salvador Dalí called Un Chien Andalou.

Film director Luis Buñuel worked as an assistant director to Epstein on Mauprat ( 1926 ) and La Chute de la maison Usher ( 1928 ).

He also wrote books on Luis Buñuel, Jean Renoir, Georges Franju, and King Vidor.

The friction between them was exacerbated when, at a dinner party in Cadaqués, Buñuel tried to throttle Dalí's girlfriend, Gala, the wife of Surrealist poet Paul Éluard.

* 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 )

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 exaggerated some scenes of the film by staging them beforehand in order to create strong impressions in the public.

After Gil leaves, Buñuel is still muttering to himself, '... what's holding them in the room ?...

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.

Buñuel courted her in a formal Aragonese manner, complete with a chaperone, and they married in 1934 despite a warning by Jean Epstein when Buñuel first proposed in 1930: " Jeanne, you are making a mistake ...

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

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

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

Buñuel later said that " I didn ’ t deliberately set out to be blasphemous, but then Pope John XXIII is a better judge of such things than I am ".

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

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

* 1900 – Luis Buñuel, Spanish-born film director ( d. 1983 )

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.

In hindsight, the disunion of 1929-30 and the effects of Un Cadavre had very little negative impact upon Surrealism as Breton saw it, since core figures such as Aragon, Crevel, Dalí and Buñuel remained true the idea of group action, at least for the time being.

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

* February 22 – Luis Buñuel, Spanish film director ( d. 1983 )

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

His main contribution was to help Buñuel write the script for the film.

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

Buñuel was fired ( or resigned ) from his position at the Museum of Modern Art ( MOMA ), supposedly after Cardinal Spellman of New York went to see Iris Barry, head of the film department at MOMA.

In his 1982 autobiography Mon Dernier soupir ( My Last Sigh, 1983 ), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.

" Her work for Buñuel would be her most famous.

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.

Luis Buñuel directed Adventures of Robinson Crusoe starring Dan O ' Herlihy, released in 1954.

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.

Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion, but Allen chose cultural academic Marshall McLuhan after both Fellini and Luis Buñuel declined the cameo.

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.

At the Residencia de estudiantes in Madrid García Lorca befriended Manuel de Falla, Luis Buñuel and Salvador Dalí and many other creative artists who were, or would become, influential across Spain.

** Cinéfondation – About fifteen shorts and medium-length motion pictures from film schools over the world are presented at the Salle Buñuel.

** Short Films – The shorts competing for the Short Film Palme d ' Or are presented at the Buñuel and Debussy theatres.

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.