A formal dinner party starts out normally enough. After the bourgeois group retire to the host’s music room, they inexplicably find themselves unable to leave. Hours pass and then days, and as the time plods by, disturbing changes in the formerly-genteel guests occur.
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Not since Renoir's 'La Regle du Jeu' had a film so aptly deconstructed and subverted bourgeois society. The animalistic metaphor points the finger at the brutality of elitism. Bunuel was a master at constructing narratives that appealed to high society and then unravelling the rottenness at its core. Polemical.
Absurdly disturbed and compelling in its symbolic oddities and fascinating criticism of the upper class. Full of insane images and complex feelings of isolation and extreme anxiety, the film builds a world around a simple idea, and fills it to the brim until it's overflowing with primal sorrow, angst, anger, degradation, and the abandonment of all that the bourgeois hold dear. All are beasts in the end.
Geniale.Uno dei rari casi in cui significati molto profondi e complessi si uniscono ad una tecnica semplice ed efficace.Si stimola la riflessione senza annoiare. Bunuel ci mostra cosa succerebbe all umanità se si trovasse a vivere in spazi troppo ristretti e affollati oppure in una società con convenzioni sociali troppo opprimenti:sarebbe una lenta regressione verso la barbarie intrisa di spiccato individualismo.5*
This is such a pure form of surrealism and absurdity. Luis Bunuel was asked by Warner Brothers to work on a story that eventually was filmed as The Beast with Five Fingers (1946). 'The Exterminating Angel' contains many of the elements of the earlier film including the large mansion, piano recital, and stabbing of a disembodied hand."
A modernistic surreal masterpiece that simultaneously embraces and makes fun of the nonsense that fills Bunuel's filmography. As such, it's one of those rare films that goes through all kind of emotions as it flip-flops between comedy, drama and sheer unabashed WTF. The dream sequence is also likely my favorite scene in any Bunuel film. The ending, though likely way too on the nose, is also oddly amusing.
Noone does Marxist satire of the upper class mixed with absurdist situations quite like Bunuel. This one kinda reminded me of the Twilight Zone in it's black and white photography and spare storytelling and I mean that as a compliment to that tv show and the movie.
Luis Bunuel's been a big disappointment for me. I loved Simon of the Desert, but every feature I've watched by him since then has been downhill. I didn't find this artistic, entertaining, or remarkable in any sense of these words :/ . . .