Anthology’s Essential Cinema: Luis Buñuel
Buñuel’s masterpieces come to New York City at Anthology Film Archives as part of their “Essential Cinema” series.
Essential Cinema is a special series of films screened on a repertory basis. The Essential Cinema Repertory collection consists of 110 programs / 330 titles assembled in 1970-75 by Anthology’s Film Selection Committee – James Broughton, Ken Kelman, Peter Kubelka, P. Adams Sitney, and Jonas Mekas. It was an ambitious attempt to define the art of cinema. The project was never completed, but even in its unfinished state, the series provides an uncompromising critical overview of cinema’s history. In June 2018, the series screens Buñuel’s Un Chien Andalou, Las Hurdes: Tierras sin pan and Los Olvidados.
- On June 17 at 3:30 pm. Screened together with Un Chien Andalou and Land Without Bread.
- Directed by René Clair and Francis Picabia, 1924, 22 minutes, 35mm, black and white.
A masterpiece of Dada and a feat of cinema. Made as intermission entertainment for the Ballet Suédois from an impromptu scene by Francis Picabia.
- On June 17 at 3:30 pm. Screened together with Entr’acte and Land Without Bread.
- Directed by Luis Buñuel and Salvador Dalí, 1928, 22 minutes, 35mm, black and white.
Twenty-two minutes of pure, scandalous dream-imagery, a stream of images from which anything that could be given a rational meaning was rigorously excluded. It remains the masterpiece of the surrealist cinema.
- On June 17 at 3:30 pm. Screened together with Entr’acte and Un Chien Andalou.
- Directed by Luis Buñuel, 1932, 28 minutes, 35mm, black and white. With English narration.
A documentary describing, matter-of-factly, a region of Spain so ravaged by epidemic poverty that there our worst fantasies find their objective correlative.—Raymond Durgnat
- On June 21 at 8:45 pm.
- Directed by Luis Buñuel, 1950, 88 minutes. In Spanish with English subtitles, 35mm, black and white.
Buñuel shows the sad condition of the poor without embellishing them, because if there is one thing Buñuel hates it is that artificial sweetness imparted to all the poor which we so frequently see in the traditional film. If, as usually happens in motion pictures, the moral principles approved by conventional society are carefully observed by members of the poorest classes…then these principals have some universal validity. However, Buñuel is concerned with exposing the opposite.—Emilio Garcia Riera, Film Culture