Un Chien Andalou

1929

Un Chien Andalou

Critics Consensus

A hugely influential masterpiece stuffed with iconic sequences, Un Chien Andalou has lost none of its power to enthrall - or unsettle.

100%

TOMATOMETER

Total Count: 22

85%

Audience Score

User Ratings: 23,618
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Movie Info

A classic, revolutionary short film, Un Chien Andalou abandons linear narrative for a dream-like succession of provocative, unexplained images, from ants devouring a man's hand to the infamous eyeball slit by a razor. This collaboration between Luis Bunuel and Salvador Dali is an essential masterpiece of the surrealist movement.

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Critic Reviews for Un Chien Andalou

All Critics (22) | Top Critics (5)

  • It is a mysterious, free-associating accumulation of images of violence, beauty and absurdity that confounded those who saw it then and confounds viewers still.

    Oct 12, 2007 | Full Review…
  • [It's] a documentary rendering of the dream state, of dream logic... and/or a contrivance by two ambitious young Spaniards to offer as much outrageousness as an artistic alibi can cover.

    Jun 24, 2006 | Full Review…

    Bob Baker

    Time Out
    Top Critic
  • This is the avant-garde masterpiece with the razor across an eyeball and dead donkeys sprawled across pianos.

    Mar 25, 2006 | Rating: 5/5
  • Luis Buñuel began his movie career with the most notorious opening sequence in movie history.

    Feb 7, 2004
  • A movie like this is a tonic. It assaults old and unconscious habits of moviegoing.

    Apr 20, 2002 | Rating: 3/4 | Full Review…
  • Buñuel movie has a heady, haunting effect, like an exquisitely enjoyed meal, the weather of a foreign country, something private and inexpressible:

    Jun 19, 2019 | Full Review…

Audience Reviews for Un Chien Andalou

  • Jan 15, 2013
    Its influence can be felt across cinema from 1928 until now and beyond (David Lynch and Guy Maddin immediately sprang to mind as I watched) . . . and that's not bad for a little 15 minute silent film. I'd ignore the arbitrary star rating I gave, for something like this its probably meaningless.
    Alec B Super Reviewer
  • Aug 28, 2012
    "BWAAAHHHH!" -Hank Hill. That's what I said on the infamous eye scene. Another experimental short. "What the hell?" is what you're gonna say throughout its 20 minutes. What "Un Chien Andalou" offers is a high amount of shock-value and stand-alone scenes that are simply awe-inspiring for its time. C'mon, it made me flinch and engaged. For a short from the 20's, that's absolutely impressive if you ask me. There's not a true narrative to solidly put a finger on; its expected to be a motion picture that's to be interpreted, and what you get is a buffet line of symbolism to be picked apart. "Un Chien Andalou" is a film-lover's dessert.
    Albert K Super Reviewer
  • Aug 19, 2012
    This silent short film dates back to 1929. It doesn't really show the violence all to often but it's guaranteed to make you squirm when it does. It's creative and every moment proves to have a significance. I can best describe it as a shorter an older version of Persona. And since I love persona I'm pretty much bound to like this one.
    Daniel D Super Reviewer
  • Feb 01, 2012
    Luis Buenel's surrealist short, Un Chien Andalou, is one of the ultimate head scratchers of world cinema. There is simply no attempt made at constructing a traditional plot structure and one could only guess at the meaning. Just consider the following images: 1. A man finds that his hand is decaying with ants crawling in and out and around. 2. One minute the same man is groping a young woman, mad with lust, the next next minute he's dragging a piano with a dead donkey, with pious clergy roped along for the ride. 3. We look on the street below to find a woman struck by a car, and a man biking in nuns clothing. All these wildly disparate images are juxtaposed in a half hazard fashion, leaving the audience to decide what it all means if anything at all. The image jumps back in forth in time and place with no rhyme or reason and we are left to simply play catch up. My first instinct was that this film was an statement concerning the nature of lust and guilt, and an exploration into anxieties of a young artist. But it turns out that Bunuel and Dali are really just fucking with us. When asked about the film Bunuel stated that the nothing in the film symbolizes anything, and "the only method of investigation of the symbols would be, perhaps, psychoanalysis". This may all seem a bit frustrating but it's mystery is the attraction. We know from the opening sequence, one of film histories most notorious, that anything goes and everyone best pay close attention. It's shocking, thought provoking and endlessly fascinating as a cinematic ink blot.
    Brandon S Super Reviewer

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