Simon of the Desert (1965)

I don't think I got it. It wasn't as surreal as his other works that I'm familiar with. It wasn't even obviously satirical to me. Maybe I wasn't paying close enough attention. Though that cut in the end is pretty funny if it's meant to be. Rock 'n' roll is the devil's music.

An Andalusian Dog (Un Chien Andalou) (1929)

I loved The Exterminating Angel so much that I wanted to watch this classic short film as well. Professor Roberto Buso-Garcia started his lecture on The Exterminating Angel with the iconic opening scene from Un Chien Andalou. Then he put up the lights and yelled "OH SHIT," putting into words the gasps that escaped from all our mouths simultaneously. "THE CLOUD CUTS THE MOON!" he exclaimed partly sarcastically but also seriously. Of course the shock came from cutting the eye, but the juxtaposition of the two images is such brilliant film technique.

The film doesn't have too much discernible plot, but the scenes have common elements that you recall. It is surreal. And you don't ask why, you just accept that it doesn't matter why. Film is a really wonderful medium for surreal art. I really appreciate Brunuel's and Salvador Dali's wild imaginations.

The Exterminating Angel (El ángel exterminador) (1962)

I thought this movie was incredible. I did not know what to expect, but I discovered a masterful and intriguing surrrealist artist. Brunuel builds anticipation and suspense so skillfully, by dropping in mysteries and refusing to address them for several scenes. Everything is done purposefully, and every bit of dialogue either recalls a previous scene or foreshadows. And the ending is left quite intentionally open to interpretation. I'm not even sure what to think and I still loved it. I looked for symbolism in things that may have none, but it keeps the audience wondering, constantly on alert. I thought it was just pure brilliance.

I first assumed it was a haunted house, playing tricks with the viewer before turning its tricks on the characters. But it soon becomes apparent that there is more to it. The psychological entrapment is so well executed. The idea is so simple and yet so complex. A party that is trapped in a room, except they're not physically trapped. What does it even mean? We as the viewer pick up on hints as to what is going on, and wonder why the characters have not made the same observations. And when finally one does, he pulls back and changes the topic, satiating our curiosity just the minimum amount. And then to the ultimate question he does not answer, leaving you forever wondering--and there is no answer and that is surrealism.