Line #39 Creator/LuisBunuel


1	[[quoteright:297:https://static.tvtropes.org/pmwiki/pub/images/luisbunuel_9672.jpg]]
2	-> ''"People always want an explanation of everything. It is the consequence of centuries of bourgeois education. And for everything for which they cannot find an explanation, they resort in the last instance to God. But what is the use of that? Eventually they have to explain God!"''
3
4	Luis Buñuel Portolés (22 February 1900 – 29 July 1983) was a UsefulNotes/{{Spa\|in}}nish filmmaker best known for his [=surrealist=] works such as ''Film/UnChienAndalou'', ''Film/LAgeDOr'' and ''Film/TheDiscreetCharmOfTheBourgeoisie.'' He debuted in 1929 with ''Un Chien Andalou'', which was his first taste of the controversy and negative reactions he would experience over the years. Over his career, he would win several awards at film festivals around the world, and ''Discreet Charm'' won the UsefulNotes/AcademyAward for Best Foreign Film. He died in Mexico City, UsefulNotes/{{Mexico}} in 1983.
5
6	!! Works by Luis Buñuel that have pages on TV Tropes: (in chronological order)
7	[[index]]
8	* ''[[Film/TheFallOfTheHouseOfUsher1928France The Fall of the House of Usher]]'' (screenplay)
9	* ''Film/UnChienAndalou''
10	* ''Film/LAgeDOr''
11	* ''Film/LosOlvidados''
12	* ''Film/TheYoungOne''
13	* ''Film/{{Viridiana}}''
14	* ''Film/TheExterminatingAngel''
15	* ''Film/DiaryOfAChambermaid1964''
16	* ''Film/SimonOfTheDesert''
17	* ''Film/BelleDeJour''
18	* ''Film/{{The Milky Way\|1969}}''
19	* ''Film/{{Tristana}}''
20	* ''Film/TheDiscreetCharmOfTheBourgeoisie.''
21	* ''Film/LeFantomeDeLaLiberte''
22	* ''Film/ThatObscureObjectOfDesire''
23	[[/index]]
24
25	!! "Surrealist tropes":
26	* AuthorAppeal: His films often have scenes that were filmed simply so he could film scenarios involving his various fetishes.
27	* {{Biography}}: 1983's ''Mon Dernier Soupir'' (''My Last Sigh'').
28	* BlackComedy: All of his films, even the ones that are kind of serious.
29	* ChristianityIsCatholic: Despite being a professed atheist, Bunuel admitted that he felt most at home with Catholic culture. All his films heavily feature Catholic imagery, even the ones in Mexico (which has a more syncretized kind of Catholicism).
30	* EyeScream: ''Un Chien Andalou'' provides one of the most famous examples.
31	* LeFilmArtistique: ''Un Chien Andalou'' was a pioneer of this. ''L'Age d'Or'' is even more so.
32	* GainaxEnding: In some of his films. Notable examples include ''Tristana'', ''The Phantom of Liberty'', ''The Exterminating Angel'', and many others.
33	* HappyEnding: Surprisingly there are films with this. Most famously and ironically, ''The Criminal Life of Archibaldo de la Cruz''; after listening to Archibaldo's "confession" about entertaining fantasies of killing several people who later turned up dead, the police point out that he didn't ''act'' on any of those fantasies (one of his "victims" died in an accident, another committed suicide, and a third was shot by her ex-lover just after she married Archibaldo) and release him without charge. He runs into Lavinia, whom he loved but who married another man whom she tells him she has since divorced, and the final shot suggests they may end up together.
34	* HumansAreBastards: The general sense you get from his movies.
35	* MindScrew: Oh yeah. Often for the viewers and, in ''Discreet Charm'', even for the ''characters.''
36	* NoEnding: His favorite kind of ending.
37	* SurrealHumor: Of course. ''Un Chien Andalou'' was responsible for the Surrealists accepting Buñuel and Dalí as their own. But all his films have this really.
38	* TakeThat: His two favourite targets for satirical jabs were the bourgeoisie (who are frequently portrayed as morally bankrupt and obsessed with appearances; ''The Exterminating Angel'' in particular shows how animalistic and cruel they can be beneath their respectable facades) and the Catholic Church (who are often depicted as greedy hypocrites; for example, the monks in ''The Phantom of Liberty'' smoke, drink, and gamble holy relics on a game of poker).
39	* WeUsedToBeFriends: He and Creator/SalvadorDali had a very nasty falling out during the production of ''L'Age D'Or'', due to Buñuel's Communist sympathies and Dalí's support for aristocrats and, later, Spanish dictator Generalissimo Francisco Franco. They never resolved their issues either. Buñuel was also friends with Creator/FedericoGarciaLorca and took his side following his falling out with Dalí.

Context Creator / LuisBunuel