surrealism

the Girl With the Prefabricated Heart (Fernand Léger, 1947)

US, 4 min

part of Dreams That Money Can Buy

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Muzorama: A Disturbingly Surreal Trip Through a Very Bizarre World (2008)

France, 3 min

Muzorama from Muzorama Team on Vimeo.

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Directed by Elsa Brehin, Raphaël Calamote, Mauro Carraro, Maxime Cazaux, Emilien Davaux, Laurent Monneron and Axel Tillement.

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Softwares used are Autodesk 3D Studio Max, Adobe Photoshop and Adobe After Effects.

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Céline et Julie vont en bateau (Jacques Rivette, 1974)

Celine and Julie Go Boating

FR, 193 min

http://www.imdb.com/title/tt0071381/

so. so. good. magic.

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Like all of Rivette’s characters, Céline and Julie are cinema’s great sleepwalkers—walking through our world, in a world of their own, seeing (quite literally) how the two rhyme and scheme together, how they might scheme back. Is there a plot? It’s the question often facing Rivette characters; the next question is whether they are its audience, subject, or author. In Céline and Julie they are, progressively, all three. When they look in the looking glass , the nod isn’t just to the helpless spectators of Lewis Carroll and Jean Cocteau (like Orpheus, they’ll even find themselves in a car taking them from one world to another)—but to Duck Soup, and to Groucho Marx, ever occupying a different plane of reality than Mrs. Dumont. Surreality: the level right above reality: the level of God and Groucho. With reality entirely at their disposal. – David Phelps

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l’Âge d’Or (Luis Buñuel, 1930)

the Golden Age
FR, 63 min

Co-written by Buñuel and Salvador Dali, the film strings together various interrelated vignettes; a blend of Sadean themes and surreal sets by Dalí, who left the project halfway through. Wildly satirical, blasphemous and pornographic for its time.

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The film was financed to the tune of a million francs by the nobleman Vicomte Charles de Noailles, who beginning in 1928 commissioned a film every year for the birthday of his wife Marie-Laure de Noailles. When it was first released, there was a storm of protest. The film premiered at Studio 28 in Paris on November 29 1930 after receiving its permit from the Board of Censors. In order to get the permit, Buñuel had to present the film to the Board as the dream of a madman.

On 3 December 1930, a group of incensed members of the fascist League of Patriots threw ink at the screen, assaulted members of the audience, and destroyed art work by Dalí, Joan Miró, Man Ray, Yves Tanguy and others on display in the lobby. On 10 December, the Paris Prefect of Police, Jean Chiappe, arranged to have the film banned after the Board of Censors reviewed the film. The film did not have its official US premiere until 1-15 November 1979 at the Roxie Cinema in San Francisco.


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