Pierre Lary

In Luis Buñuel’s deliciously satiric masterpiece, an upper-class sextet sits down to dinner but never eats, their attempts continually thwarted by a vaudevillian mixture of events both actual and imagined.

This Surrealist film, with a title referencing the Communist Manifesto, strings together short incidents based on the life of director Luis Buñuel. Presented as chance encounters, these loosely related, intersecting situations, all without a consistent protagonist, reach from the 19th century to the 1970s. Touching briefly on subjects such as execution, pedophilia, incest, and sex, the film features an array of characters, including a sick father and incompetent police officers.

After dumping a bucket of water on a beautiful young woman from the window of a train car, wealthy Frenchman Mathieu, regales his fellow passengers with the story of the dysfunctional relationship between himself and the young woman in question, a fiery 19-year-old flamenco dancer named Conchita. What follows is a tale of cruelty, depravity and lies -- the very building blocks of love.

Beautiful young housewife Séverine Serizy cannot reconcile her masochistic fantasies with her everyday life alongside dutiful husband Pierre. When her lovestruck friend Henri mentions a secretive high-class brothel run by Madame Anais, Séverine begins to work there during the day under the name Belle de Jour. But when one of her clients grows possessive, she must try to go back to her normal life.

In Luis Buñuel’s deliciously satiric masterpiece, an upper-class sextet sits down to dinner but never eats, their attempts continually thwarted by a vaudevillian mixture of events both actual and imagined.