A young Luis Bunuel co-wrote this and worked on the production before quitting partway through over a dispute with Epstein about how faithfully to follow Poe. The following year Bunuel made Un Chien Andalou with Salvador Dali instead, a film already sitting elsewhere on this site, which makes this one something like its more patient, more formal older cousin. Epstein shot much of it with a wind machine and multiple exposures decades before that kind of layering had a name, using slow motion and superimposition for mood rather than shock in a way that reads as strikingly modern for 1928.A young Luis Bunuel co-wrote this and worked on the production before quitting partway through over a dispute with Epstein about how faithfully to follow Poe. The following year Bunuel made Un Chien Andalou with Salvador Dali instead, a film already sitting elsewhere on this site, which makes this one something like its more patient, more formal older cousin. Epstein shot much of it with a wind machine and multiple exposures decades before that kind of layering had a name, using slow motion and superimposition for mood rather than shock in a way that reads as strikingly modern for 1928.
A young Luis Bunuel co-wrote this and worked on the production before quitting partway through over a dispute with Epstein about how faithfully to follow Poe. The following year Bunuel made Un Chien Andalou with Salvador Dali instead, a film already sitting elsewhere on this site, which makes this one something like its more patient, more formal older cousin. Epstein shot much of it with a wind machine and multiple exposures decades before that kind of layering had a name, using slow motion and superimposition for mood rather than shock in a way that reads as strikingly modern for 1928.