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on 7 July 2004
It is unecessary to attempt to understand what this film is about, i also think that it isnt completely necessary to use it as entertainment. Films made during the surrealist movement should be regarded as works of art and UN CHIEN ANDALOU is a work of pure unique genius on Bunuels part. Surrealism often represents the dream world and dreams very rarely make any sense or have any sort of linear narrative in real life. What they often do have is semiology. Many of the symbols in this film could be to do with sexual tension, such as the ants crawling out of the hand and the spacial discontinuity represents the dreamworld, ever had a dream when you are in a room which doesnt look anything like the room you are meant to be in but you know somehow that it just is? These ideas are all interpreted in this film.
It is my feeling that some of the best art ever made is that which was made during the surrealist movement as it allows you to interpret your own readings. UN CHIEN ANDALOU is a classic example of this.
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on 16 December 2000
One of the keynote products of the surrealist movement, made back in the days before Dali became an apologist for fascism and the Catholic Church. Oh how the mighty fell... Bunuel of course went on to make many more great movies. You have to see this film at least once - even if you don't like it, you'll never forget it!
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on 3 March 2004
The eye slitting scene, gave the idea that if you showed somthing so shocking at the start of the film it would reverberate through the rest of the film, which is true of this film.
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on 27 July 2000
This is the sheeeee-ite maan. This film is dope to the max. Eye cuttin', dead horses and a dirty man with ants on his hand. Boy this baby rocks. And you know what - it was made in 1929 when me grandad was still ploppin'. It's stood the test of time like a fine wine but it is an aquired taste like chips. You know you'd eat 'em if you was starvin'. So if you DEMAND art from your movies then look no further.It'll take you a century to work this one out.
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on 3 June 2000
Okay, I'm a big fan of Dalli's paintings, but I can't quite get to grips with this film. Once you get used to the non-linear narrative, the film chugs along in the direction you'd expect from a surrealist. However, there are far too many gross-out bits, most notably the eye slitting at the beginning. It's lack of linear structure and narrative make it very hard to follow and a rather uneasy and unenjoyable ride. One can't help feeling that that's the way Dalli would have wanted it, though
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