After an incredibly long and bumpy career, Buñuel finally secured the rights to make the films he wanted in his later years. This film is a gift that Buñuel gave himself in exchange for his lifelong struggle. This man who sharpened his whims in the ups and downs of fate, used the attitude of a winner in the 143-minute film. A hearty celebration of Surrealism's powerful conquest of the postmodern era.
Molecules always flow without regularity and destination, "pushing one door and then another" - these are the original words of Buñuel's comment on the film, they do not change any existing appearance, It just highlights how spaced they are from each other, so instead of dots we see lines, not states, but speed, pedophiles, unruly monks, incests, and sadomasochists, all four of which are The only purpose of the setting is to make them meet at the small hotel, but the meeting cannot be frozen out of the scene, and the scene itself is a new round of turmoil - the game where the Hatter invited the monk and the incest has been interrupted before it even started, the middle part After that, Nurse (the end of the line for cum pedophiles) went into the next round of shuffling. The world is ruled by a double contingency: everything that happens has no consequences (even if that aunt and nephew were having a physical relationship, it's just the fulfillment of incest, a prerequisite for admission), and also gives up any Predictions of what will happen. If such contingency must be regarded as a hidden structure, then this hidden structure is not given, but rather it specifies when and where the reality and the surreal transform into each other.
In addition to this, molecules are always attached to the first-comer in their fortune-telling journey. Regarding human intelligence, the oldest law I can think of so far is: simultaneity and consistency that must be observed: Assuming that A and A' are two inverse propositions, a person only thinks about A or A' at a time. However, in the famous "Take a Daughter to a Daughter" episode: Buñuel and Carriere completely unblock the language, thereby subverting the "thinking-body" alliance: one only needs to think and do two things at the same time The opposite thing is to make these two things into one thing. Nothingness and existence constitute the community of the movie-because there is only one "director" as the head of the game, so the real and false directors are all directors. So, if someone tied me to a tiger bench and forced me to break down Buñuel's film according to the "begin-end" axiom, then I can only answer: in the 130 minutes before Michel Piccoli came on, What we see is the never-ending effort of overlapping parallel lines, which finds its best end in the sublimation from reality to surreal, and thus we experience the joy of self-determination from the moment of birth , and the essence of surrealism is happiness. In the name of happiness, Buñuel created intelligence that is higher than intelligence, and imagination that is higher than imagination.
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