Catherine Deneuve and legendary filmmaker Luis Buñuel on the set of French new wave film Belle du Jour, 1967

The films of Luis Buñuel detonated polite cinema from the inside. Emerging from the radical shock of Un Chien Andalou and the savage social critique of L’Âge d’Or, he fused dream logic with razor-sharp political satire, slicing through bourgeois morality, religious dogma, and sexual repression with images that still feel dangerous. Later works such as The Discreet Charm of the Bourgeoisie and Belle de Jour turned narrative inside out, blurring fantasy and reality so seamlessly that audiences were left unsure whether they were witnessing a story or a subconscious confession. Buñuel did not merely experiment with surrealism, he weaponized it, proving that cinema could operate like a dream, a scandal, and a philosophical assault all at once.

Although Luis Buñuel was not a principal author of the Manifesto of Surrealism, he moved within the tight inner circle formed around André Breton in 1920s Paris and became one of the movement’s most potent cinematic agents. Surrealism sought to liberate the unconscious from rational constraint, privileging dream imagery, erotic impulse, shock, and psychic automatism. Buñuel grasped immediately that film, with its ability to fracture time and logic, could become the perfect surrealist weapon.

That conviction crystallized in his collaboration with Salvador Dalí on Un Chien Andalou. The two devised the film by sharing dreams and agreeing on one strict rule: no image should be governed by rational explanation or symbolic logic. The result was a 16 minute assault on narrative coherence, most notoriously the razor slicing across a woman’s eye and the grotesque swarm of ants erupting from a hand. Premiering in 1929, it shocked Parisian audiences, yet the surrealists embraced it as a pure realization of their manifesto in motion. Cinema had, for the first time, behaved like a dream rather than a story.

The film’s success positioned Buñuel as surrealism’s most daring filmmaker. Yet his partnership with Dalí was brief. Their follow up, L’Âge d’Or, intensified the attack on religion, bourgeois respectability, and sexual repression, provoking riots and eventual bans. Political tensions, especially Dalí’s ambiguous stance toward authoritarianism, fractured their alliance. Buñuel, more overtly anti clerical and socially radical, carried surrealism forward into a lifelong critique of power structures.

Luis Buñuel in disguise, with the Oscar won for his 1972 film The Discreet Charm of the Bourgeoisie. From his book My Last Breath: "When [The Discreet Charm of the Bourgeoisie] had been nominated for an Oscar, four Mexican reporters tracked us down at El Paular, where we were already at work on another project. During lunch, they asked if I thought I was going to win that Oscar. 'Of course,' I replied between bites. 'I've already paid the twenty-five thousand dollars they wanted.