Un Chien Andalou officially welcomed into the ranks of the Surrealists by the movement's leader André Breton, an event recalled by film historian Georges Sadoul: "Breton had convoked the creators to our usual venue [the Café Radio] ... one summer's evening. Dalí had the large eyes, grace, and timidity of a gazelle. To us, Buñuel, big and athletic, his black eyes protruding a little, seemed exactly like he always is in "Un Chien Andalou", meticulously honing the razor that will slice the open eye in two." Among the most enthusiastic viewers of the film were the wealthy couple Viscount Charles and Marie-Laure de
The Cremaster Cycle This is summarized by one critic as "Barney's cinematic art inspires both awe and revulsion, often simultaneously." Indeed, the "Village Voice" featured two reviews, with art critic Jerry Saltz praising the cycle, and film critic J. Hoberman panning it. Lavish praise includes: ""The Cremaster Cycle" by Matthew Barney is the first truly great piece of cinema to be made in a fine art context since Dali and Bunuel filmed "Un Chien Andalou" in 1929. It is one of the most imaginative and brilliant achievements in the history of avant-garde cinema." In 1999, when three of its entries (the fourth, first,